The
Curtis
Institute
of Music
OVERTONLS
Fiftieth
Anniversary
Issue
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Fiftieth
Anniversary
Issue
OVERTONES
Volume XI
Number 1
October 1. 1974
design: Sam Maitin
contemporary photographs: George Kratise
printing: Consolidated/Drake Press
.The Curtis Institute of Mus'c
The
Curtis
Institute
of Music
48709
acknowledgments
Former issues of Overtones are a partial record of the first sixteen years of
The Curtis Institute of Music. Of great value for the history of the
Institute are the programs and press clippings of orchestral concerts,
opera performances, and recitals given for public audiences or private
student recitals. To review them is to respect profoundly the work of the
faculty, students, and the six Directors of the Institute without whose
leadership and careful use of authority the small music school could not
have made its unique contribution to American culture.
Those responsible for the Fiftieth Anniversary issue of Overtones
wish earnestly to acknowledge the unstinted cooperation they have
received, and to give appreciation and thanks to: The author of the
Tribute who requests anonymity; Rudolf and Irene Serkin for being
themselves; Edith Evans Braun for sharing memories of the first fifty
years; Francis Bosworth for critical reading of the manuscript; Thelma
Brunson for endless patience by telephone; John Francis Marion for
basic research; Barbara Henry as librarian par excellence; Jane Hill
Meyer for all the help which only she could give; Keo Mittnacht for
alumni research; Sol Schoenbach and Dean Peter Schoenbach for good
advice in general and good sense in particular; Nancy Shear who knew
where to find it; Sumner W. Stevenson for archival documentation; and
Esther Van Sant for general documentation and research, preparation of
manuscript, editorial assistance, and for pulling the laboring oar.
Due to incomplete records, we may have omitted material that
should have been included in the text. Also, we may have erred in stating
Nellie Lee Bok
as fact some things that are not. We apologize and ask those of you who ^ ^^^ ^^^^ g^^.
can set us straight to do so. We would appreciate your help. October l. 1974
foreword
o.
verwnes first appeared in October. 1929. five years after
The Curtis Institute of Music opened its doors, and was issued
thereafter on an irregular basis until April. 1940 when the Sec-
ond World War forced discontinuance.
The current issue, the first after a lapse of almost 25 years,
does not mark the resumption of publication on any regular
basis, but. instead, commemorates the 50th Anniversary of The
Curtis Institute of Music and the unique role of its founder.
Mary Louise Curtis Bok. in the life of The Curtis Institute and
thereby in the musical life of the past 50 years.
Overtones was always a "home made" product, written by
members of the Curtis faculty, edited by Elsie Hutt with assist-
ance of others on the Curtis staff and owing its special tone to
Mary Louise Curtis Bok who conceived Overtones and presided
over the preparation of each issue. Mrs. Bok and her collabora-
tors aimed for a publication which would inform the Curtis
family-facultv and students, and the musical world beyond of
current developments at The Institute. The publication aspired
to more than mere factual reporting and attempted, as indeed
the name Overtones suggests, to convey something of the spirit
and atmosphere of what was then a pioneering undertaking in
musical education.
It is eminently appropriate on the occasion of Curtis'
Golden Anniversary to publish another issue of Overiones and
thereby to recognize the dedicated individuals who, as mem-
bers of the musical and academic faculties and of the adminis-
trative staff, have over the past 50 years contributed so
significantly to the musical education of thousands of talented
individuals and to the standing of The Curtis Institute of Music
as one of the world's outstanding conservatories.
The word Overiones implies an ever-widening circle as the
initial sound spreads and enriches itself while still remaining true
to its source. Certainly, over the years, the notes first sounded by
musical education at Curtis have spread throughout the United
States and the world as outstanding men and women who have
received inspiration and guidance at Curtis have pursued their
careers as performing artists, composers, teachers and in other
fields. Curtis takes great pride in the large number of its students
who have achieved world renown. Equally, Curtis is proud of its
many students who may not have achieved a similar degree of
fame but who. in various roles, have brought music, intelligently
understood and discriminatingly presented, to innumerable
communities and thereby have helped cheer the heart and raise
the spirits of countless people.
As it looks forward to its second half century. The Curtis
Institute continues committed to the objective of providing the
finest in musical education and training to truly outstanding
musical talents. Those whose contribution to Curtis' first half
century is commemorated in this issue of Overtones have laid a
firm foundation for future accomplishment. All of us who have
felt the influence of Curtis and who love music can be grateful
for their contribution.
M. Todd Cooke
President
The Curtis Institute
of Music
a tribute
For most of its fifty years, every concert, assemblage, and gathering at
The Curtis Institute was graced by Mary Louise Curtis Bok Zimbalist, a
presence so evocative and responsive that it Hves in thousands of
memories across the United States and in other lands where Curtis artists
make music and fulfill the promise of their unique education. To walk
into the Institute, to sit in its concert hall or be among its students, is still
to hear the low speaking voice, to see the smiling eyes slightly slanted in
mysterious intelligence and wit, to feel oneself in the presence of a loving
heart and a mind of steel. Ideals are empty matters without the will and
energy and realism to implement them. Mary Louise Curtis Zimbalist
possessed those powers beyond the great material inheritance which
enabled her to use them fully.
She was so gentle. It would be impossible to imagine her other than
calm, wise, gracious, understanding, tolerant, a lady of exquisite taste and
poise: a woman of enormous strength and determination. Her response to
every interest and occupation was constructive. She loved music; in her
character, to love meant to build and to serve. She had a sound musical
education, and her keen mind reflected all her tastes— wide reading, a
lifelong sense of scholarship, a searching, constantly widening intellect, a
practical turn of thought beyond philosophical reflection and the gift of
drawing out the best in people. She grew, and her remarkable sense of
values grew all the years of her very long life.
To a fascinating degree. The Curtis Institute personifies the
character of its founder. She combined a sense of quality,
uncompromising and austere, with profound generosity and kindliness.
Ever\' Curtis graduate and student who has passed through the tough
competitive auditions and exacting disciplines of entrance and study and
performance, to receive his or her Curtis education tuition-free, has felt
the two hands of the founder. Her pride in the school, in its students and
graduates, and the jov she took in them kept her always a vivid
participant in their lives and careers. Her gift for friendship was wide,
varied, eagerly shared. She had congenial interests with the likeliest and
also with quite unlikely people, always encouraging them to be
themselves. Her vision was grand, but her ways endearing. She was a
great woman. For her we can quote the son of Sir Christopher Wren, who
engraved over a door of St. Paul's Cathedral this tribute to his father, the
architect: If vou seek his monument, look around you. And we add:
Listen too. For The Curtis Institute, the United States, and many other
countries echo the creation of the white-haired lady whose wisdom,
warmth, and strength live on in the world's best music.
The
First
Fifty
Years
Mary Louise Curtis Bok
and her father^
Cyrus H. A. Curiis. 19:4
1
Mary Louise Curtis Bok founded The Curtis Insti-
tute of Music in 1924 at the age of forty-seven.
During the forty-six years which followed, it was
the focus of her life. She endowed it with her vi-
sion and uncompromising standard— she sustained
it with her courage and relentless energy.
When she was eighty-five, she was asked, in
turn, by three members of the Board of the Insti-
tute what instructions or advice she would give
them for the future. To each she resolutely re-
plied. "I want no changes now. When I am gone,
the responsibilities must be met by you members
of the Board."
"The support and promotion of music and mu-
sical education" is the declared purpose of the
Corporation as stated in the Charter of The Curtis
Institute of Music, signed April 18, 1924. Mary
Bok hoped to raise the standards of teaching mu-
sic to assure talented young people the opportu-
nities they deserved.
Like her parents, Mrs. Bok had enjoyed music all
her life. Cyrus Curtis and Louisa Knapp had met in
Boston when they sang in the choir of the Unitarian
Church. Soon afterward, he escorted her to a ball
where Johann Strauss conducted the waltzes.
On March 10, 1875, Cyrus and Louisa Curtis
were married. The groom was twenty-five, the
bride was twenty. Their wordly possessions were
few, but their treasures were vast: good health, su-
perior intelligence, the groom's ambition, and the
bride's intention to be his good helper.
Mary Louise Curtis was born August 6, 1876
when the nation was celebrating its centennial.
Her father journeyed to Philadelphia to see not
only the festivities but the city. So impressed was
he that he decided Philadelphia was the place for
the publishing business he intended to build. The
Curtis' believed in the future of the nation and
worked with the zeal of pioneers. Their only child,
Mary, was also busy... she watched and listened
and thought her own thoughts.
Later, she wrote in a short biography of her
mother: "My parents were devoted to their church
and were regular in attendance. Father was al-
ways interested in church music, and many a fine
choir was brought into being through his efforts. I
remember so well, sitting in a pew as a little girl
during the singing of hymns, hearing my father
sing the baritone part, always correctly in a pleas-
ing voice, and my mother in her rich contralto
singing with evident joy and extremely well— so
well, in fact, that always many of the congregation
turned around to locate her voice, while 1 (shame
on me!) shiveringly wavered between a feeling of
deep mortification that Mother would do anything
to call such attention to herself and an intense
pride in her performance!"
Cyrus Curtis became an important young pub-
lisher; The Ladies' Home Journal was his first
great success and his wife. Louisa Knapp Curtis,
was the first editor. At last they were able to have
a pipe organ in their house. He urged Mary to
play the organ as well as the piano. She studied
music seriously and played well.
Mrs. Curtis decided Mary should go to a
boarding school nearby and enrolled her in The
OgoiUz School for Young Ladies where she spe-
cialized in music. Later she visited friends in En-
gland and travelled on the Continent with her
parents. Meanwhile, Mrs. Curtis had announced
her retirement from the editorship of the Journal
but Mr. Curtis insisted she select and train her
own successor. She chose Edward W. Bok. a na-
tive of The Netherlands, a young journalist who
had attracted attention in New York not only for
his ability as an editor but also for his intuitive un-
derstanding of advertising. He became Editor of
The Ladies ' Home Journal at the age of twenty-six.
In boyhood, both Cyrus Curtis and Edward Bok
had surmounted poverty and had worked as news-
boys. The American Dream had been theirs and
they understood each other.
Mary Curtis and Edward Bok were married in
1896, and she began to join in his friendships with
the men and women of an editor's world. In 1897.
their first son. Curtis, was born: and a few months
later Edward Bok introduced his friend, Josef
Hofmann. to his wife and infant son. In 1905,
their second son. Cary. was born. For the next five
years, her world revolved around the activities of
husband, sons and parents.
In 1910, Louisa Knapp Curtis died. With star-
tling keenness. Mary Bok felt the challenges of
mature life. Her mother, father and husband had
found work of width and depth. Her world was
purely personal.
Cyrus Curtis knew his daughter well. He asked
his friend. Jennie Fels (Mrs. Samuel Fels). which
musical activity in Philadelphia might interest
Mary Bok. Mrs. Fels described the music classes
in the Settlement Music School on Christian
Street, and arranged for her to meet the two
young women who had begun the classes in
1908-Blanche Wolf (Mrs. Isidore Kohn) and
Janette Selig (Mrs. Edwin G. Frank).
There, Mary Bok found work waiting for her.
When the Settlement was founded for culturally
deprived children of the neighborhood, music
proved one of the best ways to reach the children.
She soon observed that many of the children were
very talented in music but compelled to give up
hopes of careers in music because of poverty.
The Settlement Music School continued to
grow in cramped quarters. In memory of her
mother, Mrs. Bok gave funds for a new building at
416 Queen Street, completed in 1917. By 1923. the
advanced and talented students showed such
promise that she decided to create a separate
school— The Curtis Institute of Music— for those
who sought professional careers. Johann Grolle,
Head Worker of the Settlement Music School, was
the first Director of the Institute.
The first classes were held October 1, 1924 in
three properties off Rittenhouse Square which had
been purchased and altered— The George W.
Childs Drexel mansion at 1726 Locust Street; the
Edward A. Sibley house at 235 South Eighteenth
Street; and the Theodore H. Cramp mansion at
1720 Locust Street. Edward Bok had purchased
the Sibley house as a token of his faith in his
wife's undertaking. She thanked him for his gift
and added. "But I don't think we will need it." "I
am sure you will", her husband replied. The
Cramp mansion is now Knapp Hall, named for
Louisa Knapp Curtis. Mrs. Bok's mother.
Mr. Grolle summed up the program— "Always
we seek to produce the musician rather than the
mere virtuoso." Having supplied strong leadership
during the formative first year, Johann Grolle
transferred his directorship to William E. Walter,
an experienced business executive. Mr. Grolle
then devoted all his time to the Settlement Music
School and Mr. Walter directed the Institute for
the next two years.
Between 1924 and 1926, Mrs. Bok formed The
Advisory Council of The Curtis Institute of Music.
Its members were Felix Adler. Edward W, Bok,
Cyrus H. K. Curtis, Carl Flesch, Walter Fischer,
Ossip Gabrilowitsch, Josef Hofmann, William
Mengelberg, Marcella Sembrich, Leopold Sto-
kowski, Ernest Urch of the Steinway Company,
and Edward A. Ziegler, Assistant General Man-
ager of the Metropolitan Opera.
Success came more quickly than had been ex-
pected. Mrs. Bok had collected a highly qualified
faculty and the students responded. "One thing I
have learned," she said, "the talented youngster is
no slacker."
By 1926, Louise Lerch, a student of Marcella
Sembrich at Curtis, had been invited to sign a
contract with the Metropolitan Opera.
Dorothy Thompson reported from Salzburg in
the Public Ledger of August 10. 1926: 'it is
strange that here in Salzburg. 7500 miles from
America, where Max Reinhardt's musical and the-
atrical festival has assembled so much inter-
national talent and art interest. Philadelphia
should be on so many people's tongues. However
much or little may be known about Philadelphia's
wealth, industries, and commerce, all European
lovers of art know of The Philadelphia Orchestra,
the (Philadelphia) Forum (founded by Edward W.
Bok). and The Curtis Institute."
By 1927. Leopold Stokowski who was in charge
of The Curtis Orchestra had enlarged it to eighty-
three members.
The student body was collected from thirty-
three states and eight foreign countries and this
pattern has been continued. The student body has
always been international and interracial.
In the spring of 1927. Mrs. Bok asked Josef
Hofmann to be the third Director of The Curtis
Institute of Music. After careful study, they an-
nounced the following spring that the $500. tui-
tion fee would be dropped at the beginning of the
1928-29 season. Each student would thereafter en-
ter on full scholarship. "Sole requirements for ad-
mission are that the student shall demonstrate a
native gift for music, a special aptitude for a cho-
sen instrument and personal characteristics that
indicate the possibility of continuous further
development."
"We only want the best". Mr. Hofmann said.
"The Curtis Institute of Music has sought the ex-
ceptional student from the tirst. We want quality
rather than quantity, and this is merely another
development along the same line."
Mary Bok sincerely believed that American
music and American musicians were necessary for
the "American process." The endowment which
she had started in 1924 with a gift of $500,000.
had been increased bv a gift from her father, but
mostly by her own gifts. After consultation with
her sons, she enlarged the endowment to a total of
$12,000,000. (1927 value). It was then considered
to be the largest single private fund ever de\oted
to the advancement of music.
The San Francisco Bulletin on .August
1928
commented on the course of events as follows:
"Realizing that the successful development of a
musical career depends upon both practical wis-
dom and artistic idealism. The Curtis Institute
does more than merely provide its pupils with the
finest instruction possible. The Curtis Institute is
still too young an institution to be able to show the
full results of its policies. Certain of its pupils have
already won success both on the concert stage and
in the Metropolitan Opera. But the artistic integ-
rity of its aims and the practical manner in which
it is attempting to realize those aims gi\e rise to
the belief that it will eventually do more than de-
velop a few successful musicians— that in the not
too distant future the institution will become an
important factor in the musical growth of the
country. Its organization and management might
well be accepted as a model by similar schools."
Built on the gardens of the Drexel and the Sib-
ley houses, a handsome small concert hall was
readv for use in 1928. It was first named Casimir
Hall and later renamed Curtis Hall. Cyrus H. K.
Curtis provided an Aeolian Pipe Organ which cost
/
I*
Circa 1925
$50,000. After forty-six years of use. M. P. Moller.
Incorporated rebuilt the organ in 1973-74 at three-
and-a-half times the original cost.
In 1929, The Curtis Institute of Music and the
Philadelphia Grand Opera Company affiliated.
Emil Mlynarski was named the conductor of the
Philadelphia Grand Opera Company and of the
orchestra at The Curtis Institute of Music. Leo-
pold Stokowski was Honorary Musical Director of
the Philadelphia Grand Opera Company. Plans
were made for more than thirty performances the
following season, fifteen of which were heard at
the Academy of Music.
Time reported in the issue of March 19, 1931
that: "Philadelphia has stolen an operatic march
on Manhattan. While the Metropolitan was lav-
ishing its resources last week on the revival of
Pietro Mascagni's sleazy Iris, the enterprising op-
era company which Mary Louise Curtis Bok fi-
nances in Philadelphia was absorbed in preparing
for the most important U.S. Premiere of the sea-
son (Berg's Wozzeck)." Rose Bampton, Helen Jep-
son, and Conrad Thibault were three of the many
Curtis students who took part in the production.
As one in a series of concerts presented by The
Curtis Institute of Music at the Philadelphia Mu-
seum of Art, a secular performance of the Faure
Requiem for vocal soloists, chorus, organ, and or-
chestra was given on April 19. 1931. It was at-
tended by almost four thousand people. The
soloists were Natalie Bodanya (soprano), Conrad
Thibault (baritone), and Robert Cato (organist).
The following year, the program was repeated in
Carnegie Hall, New York with the addition of the
first movement of Tschaikovsky's Piano Concerto.
Jorge Bolet, then a piano student of David Saper-
ton. was the soloist.
Winthrop Sargeant wrote in The Nation (April
6. 1932) regarding the affiliation with the Phila-
delphia Grand Opera Company as a point in the
Institute's favor. "America has long been in need
of some sort of bridge between its music-educa-
tional institutions and the realities of its profes-
sional music life. Perhaps one of the greatest
obstacles to the normal development of competent
American musicians in the past has been the lack
of a helping hand at that crucial point when the
student seeks to feel his way into that ver\ ter-
rifying world of foreign languages and hew ilder-
ing competition in which his future is laid. The
Philadelphia organization is able, in some mea-
sure, to meet this difficulty by furnishing The Cur-
tis Institute of Music with a direct outlet."
Unfortunately this affiliation was dissolved— a
casualty of the Depression in the early thirties. Al-
though opera remained important in the curricu-
lum, productions were on a smaller scale.
During these vital years in the growth of the Insti-
tute. Mrs. Bok met great changes in her personal life.
After serious illness, her husband. Edward W. Bok.
died in January 1930. Her father. Cyrus H. K. Curtis,
became gravely ill and she lived in his home to
supervise his care until he died in June 1933. By
1935. both of her .sons were married. Her duties first
as daughter, then as wife and mother, had been
fulfilled and she was able to give all her time to her
absorbing interest in music and in her effort to hand
down through contemporary masters the great tradi-
tions of the past, to teach students to build on this
heritage for the future.
During the school year, she worked at the Insti-
tute. During the summer months, she lived in
Rockport. Maine in a house she and Edward Bok
had built on the shore of Penobscot Bay when
their sons were boys. In the mantel of the living
room was curved this inscription by their friend.
John Burroughs: "1 come here to find myself It is
so easy to get lost in the world."
In Rockport. Maine there is rare beauty. Rock-
port is a small peninsula between Penobscot Bay
to the east and snug deep Rockport Harbor to the
west. Cold water laps rocky shores crowned with
pine and white birch trees. On the horizon to the
west and north are the se\ en Camden Hills. Motor
boats for lobster men and sailing boats for sum-
mer seamen have replaced the clipper ships
which, more than a hundred years ago. regularly
left the harbor to sail around the Horn to China.
In the late 20"s. Mrs. Bok in\ited a few mem-
bers of the faculty to take advantage of Rockport's
special summer quality and to teach there some of
their more gifted students. There were no set rou-
tines and a student's presence depended on his
teacher's approval of his work. Those who particu-
larly helped to build the colony by their interest
and enthusiasm were Edith E\ans Braun. Josef
Hofmann. Lea Luboshutz. and Felix Salmond. In
1928. Carlos Salzedo made his contribution by
founding The Harp Colony of America in Cam-
den, the town adjacent to Rockport. For forty-six
years. The Harp Colony has sustained its high
standards. At Mr. Salzedo's request. Alice Chali-
foux (Curtis '34) became Director after his death
in 1961. She is now assisted by her niece. Jeanne
Chalifoux (Curtis '51).
At first, there were no concerts offered to the
public. In the 30's. The Curtis String Quartet gave
weekly concerts in Captain Eell's Boat Barn, but it
soon proved too small for the large audiences.
World War II reduced the number of students
who came to Rockport in the summer, but in-
creased the number of faculty and concert artists
who visited there. Among them were Elisabeth
Schumann. Bidu Sayao from Brazil. Genia Neme-
noff and Pierre Luboshutz. Eleanor and Vladimir
Sokoloff. and Gregor Piatigorsky.
In 1938, Josef Hofmann resigned as Director to
devote more time to concertizing and radio perform-
ances. For the next year. Mrs. Bok administered the
school with the competent help of J. H. Mattis.
Comptroller. In 1939. she appointed Dr. Randall
Thompson to be the fourth Director of The Curtis
Institute of Music. .Although Dr. Thompson re-
mamed onlv two vears. he made great contributions
to the school. His inauguration of weekly assemblies
for lectures and recitals is remembered b\ the fac-
ultv and students then at Curtis.
In June 1941. Efrem Zimbalist was appointed
fifth Director of the Institute. Having joined the
faculty for violin in 1928. he was fully acquainted
with the school and shared Mrs. Bok"s devotion to it.
.•\fter the beginning of World War II in Decem-
ber 1941. the Institute v\as reduced in size by the
departure to military duty of many students and a
few members of the faculty. Gradually Mrs. Bok
and Mr. Zimbalist became convinced that the
avowed purpose of the Institute could be best
served by a small student body and special em-
phasis placed on the teacher-student relationship.
In Rockport, Maine, on July 6. 1943. Mr. Zim-
balist and Mrs. Bok were married in a simple cere-
mony in her home, attended by her two sons,
Curtis Bok and Can, W. Bok. and their families.
This marriage also drew into the family circle Mr.
Zimbalist's children. Maria Zimbalist Bennett, Ef-
rem Zimbalist, Jr., and stepdaughter, Marcia Dav-
enport, together with their families.
In 1949. The Curtis Institute of Music celebrated
its Twenty-Fifth Anniversary with two e\enings of
music at the Academy of Music. On Januarv 5. The
Curtis Symphony Orchestra, with .Alexander Hils-
berg conducting, played Berlioz's overture. The
Roman Carnival and Barber's Symphony No. 2 fol-
lowed by Brahm's Concerto in A Minor for violin
and violoncello. The soloists were Efrem Zimbalist
and Gregor Piatigorsky. On January 6. the Opera
Department presented L'Oracolo by Franco
Leoni. sung in Italian: "The Letter Scene" from
Eugen Onegin by Tschaikovsky. sung in Russian;
and Amelia Goes to the Ball by Gian Carlo Men-
otti, sung in English. Efrem Zimbalist conducted:
Elizabeth Westmoreland was Associate Music Di-
rector: and John W olmut was Stage Director.
To salute his wife on the approach of her
eightieth birthday. Efrem Zimbalist had com-
posed a delightful opera. Landara. Herbert Graf
staged the all-student production in the Academy
of Music. The composer conducted the two per-
formances on April 6 and 9. 1956. Even, student
in the Institute took part and rehearsals began in
January. The students had an opportunity to help
with a fine gift for Mrs. Zimbalist. llona Kom-
brink (Curtis "58) sang the charming role of Prin-
cess Landara. a mythical princess in a mythical
country.
Mary Louise
and Edward Bok, 1926
Mary Zimbalist had received many honors, but
none pleased her more than those two evenings.
The Curtis String Quartet had left Captain
Eell's Boat Barn in Rockport for larger quarters in
the Poconos. In 1960, Lea Luboshutz's grandsons
Andrew Wolf (Curtis '60). pianist, and his brother
Thomas, flutist, launched the Bay Chamber Con-
certs in the Parish House of St. Thomas' Church in
Camden. A string quartet and Andrew Wolf were
the regular performers. Players of other instru-
ments were invited as the programs required.
There were changes m the personnel of the quar-
tet almost ever>' season as members moved on to
other music communities.
Until her health began to dechne. Mr. and Mrs.
Zimbahst regularly attended the Bay Chamber
Concerts. The response of the Rockport audience,
townspeople and summer visitors to the well-
trained voung musicians was to her another con-
firmation of her life work. She was humble in ap-
praising her own personal work but intelligently
aware that she had helped greatly to awaken this
country to the contribution music could make in
our society. The support and promotion of music
and music education had been the chartered pur-
pose of The Curtis Institute of Music. She was nat-
urally pleased when others shared the same
enthusiasm. The major American orchestras had
developed since World War I. and The Curtis In-
stitute had trained many of the musicians for
them. Colleges and universities were expanding
their Music Departments, and. here again, Curtis
had trained many who held high positions on the
faculties. Some had gone from Curtis to further
academic study in major universities and had re-
ceived graduate degrees, thereby adding advanced
I
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scholarship to speciahzed musical training and ar-
tistic ability.
A partial and incomplete list compiled in
1973-74 showed that Curtis alumni are teaching in
at least ninety-six institutions of higher education.
Of these, fifty-six have the rank of university and
eighteen are music schools and conservatories.
Foundations and individuals have been offering
awards, grants, and scholarships to students of the
arts as well as sciences and Curtis alumni have
been receiving their share.
The National Broadcasting Company had com-
missioned Gian Carlo Menotti (Curtis '34) to
write a short opera for radio in 1939 and one for
television in \95\—Amahl and the Night Visitors.
This Christmas story has become an annual tele-
vision production in the ensuing years. Menotti is
described in Baker's Biographical Dictionary oj
Musicians, Fifth Edition: "As a composer, he is
unique on the American scene, being the first to
create American opera possessing such an appeal
to audiences as to become established in perma-
nent repertory." For seventeen years, he has
worked to develop The Festival of Two Worlds at
Spoleto in his native Italy. The purpose of the Fes-
tival is to bring together young musicians of Italy
and the United States.
With the sponsorship of the United States State
Department, Jeanne Behrend (Curtis '34) made a
concert tour of South .America in 1945-46. She
later directed the Philadelphia Festival of Western
Hemisphere Music in 1959-60.
Having hoped for the time when .Amcrican-
born-and-trained musicians could fill the highest
musical posts. Mary Zimbalist was gratified when
Leonard Bernstein (Curtis "41) was appointed Mu-
sic Director of the New York Philharmonic in
1958. She could not foresee that he would be com-
missioned to compose a work for the opening of
the Kennedy Center for the Performing Arts in
Washington. D.C. His Mass, a theatre piece, was
performed there on June 28. 1973.
Samuel Barber (Curtis 34) was commissioned to
compose an opera for the opening night of the new
Metropolitan Opera House in Lincoln Center. His
opera was Anthony and Cleopatra performed Sep-
tember 16. 1966. The Metropolitan Opera had pro-
duced his tirst opera Vanessa with libretto by Gian
Carlo Menotti on January 15. 1958.
Nino Rota (Curtis '35) returned to his native
Italy after his graduation in composition and
wrote music for the Italian cinema. In Hollywood,
he composed the music for many productions in-
cluding the award-winning The Godfather.
From her first experience with talented chil-
dren and adolescents at The Settlement Music
School. Mrs. Zimbalist was aware not only of their
individual differences and backgrounds, but of
their varied tastes and ambitions. At the Institute,
she hoped they would learn the techniques and
acquire the knowledge and have the experiences
needed by the young professional musician. She
knew personally as many students as opportu-
nities permitted and continued the friendships. Es-
pecially she trusted them to discover their own
musical strength and to continue to grow.
Mrs. Zimbalist recognized the special contribu-
tions to music made by church musicians, teach-
ers, musicologists, and composers as well as by
performing artists, and knew graduates of Curtis
Mary Bok's younger son,
Cary IC. 'Bok,
on Penobscot Bay,
Summer 1934
were working in each group.
So long as she was able to attend the gradu-
ation ceremonies, she spoke to each class. Whimsi-
cally, she described to them a boy who threw a
pebble in a pond and watched with surprise as the
ripples grew larger and larger until they reached
the shore. She urged the graduates to recognize
the power of an individual's influence in any com-
munity—be it a small town, a great university, or
an audience world-wide.
Efrem and Mary Zimbalist came to Rockport
each summer. He enjoyed teaching a few violin
students as well as his usual practising and com-
posing. She often sat on the terrace, listened to his
playing, and looked at Penobscot Bay or talked
with a visitor.
One summer day she said to a friend. "People
have often said to me— 'You must love music more
than anything." I enjoy music, but it is nature that
means most to me. When I was a little girl, my
father and I often talked with Walt Whitman.
Over the years since, I have read and reread his
Leaves of Grass. I like his response to nature."
On another summer day. Eugene Ormandy
surprised her with a telephone call from Portland,
Maine and praised the fine organ he had just
heard there in the City Hall auditorium. It had
been given by her father. Mrs. Zimbalist remem-
bered the organs her father had given with joy to
churches and schools. She felt that there was one
more gift she could make for her father— The
Cyrus H. K. Curtis Memorial Organ— for the
Academy of Music in Philadelphia. It was ready
for use in September 1960. The rigid restrictions
laid down by the old building itself required the
most versatile of instruments. It was constructed
by the Aeolian-Skinner Company in five portable
units plus a portable console and may be used as a
full organ or a baroque organ using but two units.
Mrs. Zimbalist was often asked what the
"H. K." in her father's name stood for. She replied
that when he was eight years old. his parents
added to his name, Cyrus, the name of their
friend, Herman Kotzschmar. because the little boy
so loved the organist and the organ that he spent
hours sitting in the empty church listening to his
.friend practice.
Twelve honors and degrees were awarded
Mary Curtis Bok Zimbalist. Her private response
was always the same; "All 1 have done is to give
away money my father earned." Her first Honor
was from the Polish Government in 1931— The
Chevalier's Cross, Order of Polonia Restituta.
Subsequent Honors were: Doctor of Humane Let-
ters from the University of Pennsylvania in 1932;
Doctor of Music from the University of Pennsyl-
vania in 1933; Doctor of Music from Williams
College, Williamstown, Massachusetts in 1934;
Knight's Cross (first class), the Austrian Order of
Merit in 1935; Gimbel's "Woman of the Year"
Award in December 1935 (She shared the evening
with Eleanor Roosevelt who was also honored.);
National Institute of Social Sciences awarded her
a Gold Medal "in recognition of the distinguished
service rendered in behalf of the musical life of
America" and "for giving genius a chance for dis-
tinguished service to humanity" in 1937; Doctor
of Literature from Colby College, Waterville,
Maine in 1940; Doctor of Humane Letters from
Temple University in 1947; Distinguished Daugh-
ter of Pennsylvania in 1949; Doctor of Music from
Mary Curtis Zimbaiist
wattzing with her son,
Curtis Bok, at the
President's Party 1950
Mary Curtis and Efrem Zi/nbalisf, 1956
Combs College of Music. Philadelphia in 1959:
and in 1963, when she was too frail to go to Bruns-
wick. Maine from Rockport, a Doctor of Humane
Letters from Bowdoin College was conferred upon
her in her own living room. Bowdoin was in the
169th year of its history. Only on one other occa-
sion had a degree been awarded away from the
campus. That was in 1824 when the Marquis de
Lafavette was unable to attend the commence-
ment in Brunswick to receive an Honorary De-
gree. Doctor of Laws.
Marv Curtis Zimbalist had patiently endured
declining strength for five years. She died quietly
Januarv 4. 1970 at the age of ninety-three.
Manv tributes to her were sent to the family and
to The Curtis Institute of Music from grateful stu-
dents and personal friends in all walks of life: musi-
cians, artists, authors, neighbors— people who knew
in some wav her kindness and her joy of being.
One middle-aged man graded himself below
average in music but excellent in managing a tea
cup— thanks to the Wednesday teas at the Institute
and to the ladv who made him forget how awk-
ward he felt.
Anna Moffo remembered Mrs. Zimbalist's ap-
proval of her efforts to form a Student Council.
Mary Zimbalist always wanted to help each stu-
dent in every way she could.
Sam Barber said: "Rather than recall Mary
Zimbalist as a philanthropist and social benefac-
tor. 1 prefer to think of her as a life-long friend
who never failed me."
Virginia Bird Martin, a writer and a painter,
wrote: "The first time we met Mary Zimbalist was
in the livina room of her home. 1 knew I was in the
presence of a lady. She was not much taller than L
but I was never with her without a feeling of look-
ing up. Her intense brown eyes took me in and she
saw me exactly as I was. She stood erect and had a
proud walk as though she were captain of her
team— which she jolly well was."
Mrs. Martin continued: "One of our saddest
days was when we attended her funeral in Phila-
delphia. When we walked into that nobly large
church we sat in the very last pew and watched
the sad-faced people filling it who were there for
the same reason we were. Because we loved her.
The Curtis String Quartet played some of her fa-
vorite music. Not all of the music was sad. She
wouldn't have liked that because she wasn't a sad
person. She had an unbeatable joy of living."
Everyone at Curtis seemed to have remem-
bered the President's Party ushering in the Christ-
mas season: skits, costumes, and the president
. . . waltzing.
The founder
and president
as graduates
remember her
Rudolf Serkin
and Eugene Ormandy
honoring Mary Curtis
Zimbalist's eightieth year
Poets to Come
Poets to come! orators, singers, musicians to come!
Not to-dav is to justify me and answer what I am for.
But YOU, a new brood, native, athletic, continental, greater than before known.
Arouse! for you must justify me.
I myself but write one or two indicative words for the future,
I but advance a moment only to wheel and hurry back in the darkness.
I am a man who, sauntering along without fully stopping, turns a casual look upon
you and then averts his face.
Leaving it to you to prove and define it.
Expecting the main things from you.
From:
LEAVES OF GRASS
IVaIr WhUman. 1819-1892
i
Johann Grolle, Director 1924-1925
From an early age. Johann Grolle studied violin at the Amsterdam
Conservatory and won the Queen's Scholarship. He was soon engaged to
play under such conductors as Willem Mengelberg and Richard Strauss. He
came to the United States when he was twenty and became a member of
the first violin section of The Philadelphia Orchestra.
In 1908. the Music Department of the College Settlement on
Christian Street became the Settlement Music School located nearby on
Queen Street. Mr. Grolle became interested and volunteered to teach there.
The following year he was named Head Worker and carried that title and
responsibility for forty years.
Mary Louise Curtis Bok was President of the Settlement Music School
from 1912 to 1925. Plans for The Curtis Institute of Music developed from
her observations and experience of the work at the Settlement Music
School. During the first year of the Institute (1924-25), Johann Grolle
served as its first Director, to help in its firm establishment. A man of
intelligence and vision, he dedicated his life to music education. Both the
Settlement Music School and The Curtis Institute of Music pay him tribute.
William E. Walter, Director (1925-1927)
William E. Walter was a former music critic and manager of the Detroit
Symphony Orchestra. He was also a part of the management of the Boston
Symphony Orchestra before he came to The Curtis Institute of Music as its
second Director in 1925.
Mr. Walter provided the transition from Mr. Grolle to the
directorship of Josef Hofmann. He resigned in 1927 to become business
manager of the St. Louis Symphony Society.
Josef Hofmann, Director 1927-1938
Today Josef Hofmann is a legend. For thirteen years, he was Director of
The Curtis Institute of Music. His genius was unique not only as a
performer and teacher, but also as an analyst of the talents and abilities
of others.
Abram Chasins. one of his students who is now both pianist and
author, wrote: ". . . he revealed a rigidly disciplined mind, an intense
concentration, and a fierce passion for separating opinion from fact, truth
from half-truth."
Josef Hofmann was born in Podgorze. near Cracow. Poland, in 1876,
the child of professional musicians. He began his musical studies at the age
of four under the tutelage of his father and sister. His development was so
phenomenal he made his debut a year later. Three years later. Anton
Rubinstein had heard him play and predicted a career of exceptional
brilliance. When he was nine, Josef made his first tour of Germany, France.
England, and Scandinavia. In 1887, he appeared for the first time in the
United States and played forty concerts. Four years later, he became the
only private pupil of Anton Rubinstein.
Hofmann's performances were touched with a special magic. In 1894.
he returned to Europe to concertize in Germany and England: in 1896. he
performed in Russia; and in 1898. at the age of twenty-two. he returned to
the United States.
Josef Hofmann came to The Curtis Institute of Music in 1924 to teach
piano and in 1927. he was appointed its third Director.
The University of Pennsylvania gave Josef Hofmann the honorary
degree. Doctor of Music, in 1933. Two years later, the Polish government
bestowed upon him the Order of Polonia Restiiuta in the rank of
Commander. The presentation took place before a distinguished audience
in the Ministry of Education.
To honor him on the occasion of his Fiftieth Anniversary as a concert
pianist, a special concert was given on November 28. 1937 by The Curtis
Institute of Music Orchestra at the Metropolitan Opera House in New
York. Fritz Reiner conducted and began the program \\ ith the Academic
Festival Overture. He ended it with Chromaiicon by Michel Dvorsky, whom
everyone knew to be Josef Hofmann. This concert remains as one of the
most moving occasions in the annals of American musical history.
Mr. Hofmann retired as Director in September 1938 to devote all of
his time to coricertizing and to radio performances. The students whom he
taught at The Curtis Institute of Music attest to his genius as a teacher, and,
through them, his spirit li\es on.
Randall Thompson, Director 1939-1941
Randall Thompson became the fourth Director of The Curtis Institute of
Music in 1939. His background was entirely different from that of his
predecessors. He had taught previously at Harvard, Wellesley, Juilliard,
and the University of California at Berkeley. His influence was felt
especially in Academic and Theory studies. Born in New York in 1899. he
received his Bachelor of Arts degree from Harvard. FoUowing his
graduation, he studied composition with Ernest Bloch in New York in
1920-21 and received his Master of Arts degree from Harvard the following
year. He was a Walter Damrosch Fellow in musical composition at the
American .Academy in Rome (1922-25) and a Guggenheim Fellow (1929-
31). In 1933. he was awarded the honoran, degree of Doctor of Music by
the University of Rochester, and was already recognized as one of the
country's most promising young composers.
Under a grant from the Carnegie Corporation in 1933, Randall
Thompson made a survey of music study in thirty colleges of the United
States for the Association of American Colleges and his findings were
published in his book College Music.
By the time he was appointed Director of the Institute, he had
composed his first two symphonies, some shorter orchestral and choral
works, as well as some chamber music. His string quartet. The M'iiid in the
Willows, was performed at the Harvard Tercentenary. To his credit were
the scores of two musical comedies. The Straw Hal and Grand Street Follies.
During his tenure at Curtis. The Philadelphia Orchestra
performed his Second Symphony.
It was at the beginning of his second year as Director that
Dr. Thompson composed his Alleluia for performance at the Dedication of
The Berkshire Music Center, where it has been sung annually ever since.
Dr. Thompson believed a well-rounded cultural background was
essential for every music student's best development and to this end. he
inaugurated weekly assemblies of the entire student body to hear lectures
and recitals. At the first of these assemblies, he led the entire group in
singing Bach chorales and works by Mozart and Palestrina.
In an article written bv Randall Thompson for Overrones, he
commented that on its fifteenth anniversary he found the Institute "full
grown, known from coast to coast and in foreign lands, its teachers devoted
and loyal, its students hard at work, its graduates hallmarked."
Efrem Zimbalish Director 1941-1968
Efrem Zimbalist"s life is so entwined with The Curtis Institute of Music that
it is difficuh to consider one without the other. He joined the faculty in
1928. alreadv a world-famous violinist. His love of his instrument and of
music was transmitted to his students through forty years as a teacher and
twentv-se\ en years as Director.
Efrem Zimbalist was born in 1889 in Rostow-on-Don. Russia. There
his father was his first teacher and at the age of nine, he played in the local
opera house. Later, he was admitted to the Imperial Conser\ ator) of Music
in St. Petersburg and became a pupil of the great Leopold .Auer. The year
Efrem Zimbalist began to teach at The Curtis Institute of Music ( 1928) was
the same year Professor .Auer became the leader of the Curtis violin faculty,
a position he held until his death in 1930.
During his many tours of the Far East. Mr. ZimbaHst introduced
Western music to the Orient. This may explain the number of Asian
students who have come to the Institute through the years. Many of them
became his own students.
His farewell appearance at Carnegie Hall, New York, took place on
November 14, 1949. The concert was attended by an audience which had
come to pay homage to a master, often called the violinists" violinist.
Philadelphians remember his farewell concert with The Philadelphia
Orchestra at the Academy of Music on February 15. 1950. He had played
his first concert in Philadelphia in 1912.
In 1941, Efrem Zimbalist became fifth Director of The Curtis Institute
of Music. By that time, the national emergency had reduced the size of the
student body and faculty. Not only was he able to bridge those difficult
years, but the Institute emerged more solidly-based and marked its first
quarter centur)' with authority and confidence.
Mr. Zimbalist's career as a violinist tended to overshadow his other
talent, composing. His symphonic poem, Daphnis and Chloe, was
performed by The Philadelphia Orchestra with Leopold Stokowski
conducting in January 1932. and his Concerto in C-Sharp Minor for violin
and orchestra was played by the same orchestra in 1943. Lee Luvisi, a
Curtis graduate and later a member of the faculty, was soloist at the
premiere of Mr. Zimbalist's Piano Concerto in E-Flat with Alexander
Hilsberg and the New Orleans Philharmonic in that city on February 19.
1959. with the composer and Rudolf Serkin present. Mr. Luvisi
subsequently performed the same work with Eugene Ormandy and The
Philadelphia Orchestra on April 12, 1960 at the Academy of Music in
Philadelphia. Other works by Mr. Zimbalist are his opera Landara: his
operetta Honeydew; a Suite of Six Dances based on folk melodies
Sarasaieana; a symphonic work An American Rhapsody: and many songs
and pieces for violin and piano.
Vladimir Sokoloff. his accompanist for many years, describes hmi as a
man of erudition and taste, great warmth, humanity and compassion and as
an incomparable raconteur. These same qualities are the ones students and
faculty recall on the Fiftieth Anniversary of the Institute he loved and
served faithfully and well.
R lido If Serk in , Director. 1 968-
Rudolf Serkin is recognized as one of the world's great musicians and an
outstanding pianist. Respected as an artist, one of the most profound and
exciting interpreters of our age. he is also recognized as a man who devotes
a considerable portion of his time and energy selflessly to others.
Mr. Serkin was born in Eger. Bohemia (now Czechoslovakia) in 1903
and educated in Vienna, where he studied piano with Professor Richard
Robert. Also in Vienna, he studied music theory and composition with
Joseph Marx and later with Arnold Schoenberg. At the age of twelve, he
made his debut with the Vienna Symphony.
In 1920. he met Adolf Busch. an event which was to mark a turning
point in his life and career, as Busch was to become his mentor, friend and
eventually his father-in-law. He credits Busch. Arnold Schoenberg. Arturo
Toscanini and Pablo Casals as being his greatest musical influences. .Mr.
Serkin's Berhn debut followed, under the aegis of Adolf Busch. and among
those present on that occasion were Artur Schnabel and Albert Einstein.
Appearances throughout Europe followed, in solo, concerto and chamber
music recitals, appearing with Busch in a series of sonata recitals for violin
and piano and with the Busch Chamber Players in the Bach suites and
Brandenburs concertos.
In 1927, the Serkin and Busch families settled in Basel, Switzerland.
Mr. Serkin made his first appearance in the United States in 1933 with the
Busch Quartet at the Elizabeth Sprague Coohdge Festival at the Library of
Congress. His formal debut in New York, with Toscanini and the New York
Philharmonic, followed in 1936. He has toured the United States annually
since 1934 and has made regular tours of Europe, appearing in recital, with
chamber ensembles, and with all the major orchestras. In addition, he has
played in South America, Iceland, Israel, India and the Far East, and has
participated regularly in the Casals Festivals since 1950.
Rudolf Serkin's association with The Curtis Institute of Music began
in 1939 when he joined the Piano Department. In 1968. upon the
retirement of Efrem Zimbalist, he became the sixth Director. In addition to
his teaching and administrative duties at Curtis, he is a founder. President
and Artistic Director of the Marlboro Festival
and School of Music in Vermont.
In 1963, President John F. Kennedy named him a recipient of the
Presidential Medal of Freedom. President Lyndon B. Johnson presented
the medal to him after President Kennedy's death. He is a Fellow of the
American Academy of Arts and Sciences, a Member of the National
Council on the Arts and has received honorary degrees from Harvard
University, Williams College. Temple University, OberUn College,
University of Rochester and the University of Vermont.
Rudolf Serkin. after a thirty-five year association with The Curtis
Institute of Music, has endeared himself to all who have been associated
with him. Perhaps no one could have put it more succinctly and gracefully
than Mary Curtis Bok Zimbalist, Founder of The Curtis Institute of Music
and his friend of many years. Near the end of her long and productive life,
she wrote ". . . and, definitely, any place where Rudi has been
is the better for his having been there."
Incorporators and Former Members
of the Board of Directors
The Curtis Institute of Music
Mary Louise Curtis Bok Zimhalist
President
1924-1969
Incorporator
President Emeritus
1969-1970
Died- January 4, 1970
Director
1924-1970
Cyrus H. K. Curtis
Director
1924-1933
Incorporator
Died-June 7, 1933
Curtis Boli
Vice-President
1937-1962
Incorporator
Secretary
1924-1929
Died- May 22, 1962
Treasurer
1924-1937
Director
1924-1962
Philip S. Collins
Vice-President
1924-1937
Incorporator
Treasurer
1937-1940
Died-June 24. 1943
Vice-President
J 940- 1943
Jennie M. Fels
Director
1924-1943
Incorporator
Died- May 4. 1943
Samuel Barber
Director
1962-1972
Cary W. Bok
President
1969-1970
Died-December 29, 1970
Vice-President
1962-1969
Secretary
1929-1962
Director
1930-1970
Helene Boericke Bok
Director
1946-1961
Edith Evans Braun
Director
1934-1972
Truman Henson
Director
1962-1968
Died-January 9, 1968
Josef Hofmann
Director
1934-1938
Jay H. Mattis
Treasurer
1940-1973
Secretary
1962-1969
A ssistant Secretary
1939-1962
Director
1941-1973
Trustee
1 96H Pension Trust
1968-1972
George P. Orr
Director
1945-1962
Died-July5.1962
Efrem Zimbalist
Director
1941-1962
The Board of Directors
The Curtis Institute of Music, 1974-1975
M. Todd Cooke
William Carson Bodine
Sumner W. Stevenson
Robert P. Hauptfuhrer
Boyd T. Barnard
Peter A. Benoliel
A. Margaret Bok
Nellie Lee Bok
John de Lancie
Gay Elliot Scott
Rudolf Serkin
President
Director
Vice-President,
acting President
Vice-President
Director
Secretary
Trustee
1968 Pension Trust
Treasurer
Director
Trustee
1968 Pension Trust
r>irector
Director
Director
Trustee
1968 Pension Trust
Director
Trustee
1968 Pension Trust
Director
Director
Director
1973-
1972-
1970-1973
1969-
1969-
1969-
1972-
1973-
1972-
1973-
1972-
1972-
1962-
1968-
1957-
1968-1973
1974-
1973-
1973-
The Curtis Institute of Music Faculty , 1924—1974
Name Subject
Years
Name Sultject
Years
Aldrich, Perlev Dunn
Voice
1924-25
Aldwell. Edward
Theory
1971-
Andoga. Victor
Vocal Coach
1929-30
AronofT, Max
Viola
1929-43;
1956-
Auer, Leopold
Violin
1928-30
Bachaus, Wilhelm
Piano
1925-26
Bachmann. Edwin
Violin
1928-32
Bailiy. Louis
Viola and Chamber Music
1925-41
Barber. Samuel
Composition;
Madrigal Choru-s;
Supplementary Piano
1965-71;
1939-42;
1931-33;
Barclay.
Dagmar Rybner
Vocal Coach
1925-33
Barclay. John
Vocal Coach and English
Diction
1931-32
Behrend. Jeanne
Supplementary Piano
1936-43
BengLsson. Erling
Violoncello
1951-53
Berkowitz. Ralph
Accompanist
1937-43
Bert. Berthe
Piano
1924-25
Bimboni. Alberto
Opera Coach
1929-33;
1936-38
Bly. Edith Wells
Supplementary Piano
1926-27
Boeckmans. Marcel H.
Fencing
1929-30
Bolet. Jorge
Supplementary Piano
1939-42
Bolotine. Leonid
Violin
1929-30
Bonade. Daniel
Clarinet
1924-28;
1931-33;
1940-42
Bonelli. Richard
Voice
1941-43;
1950-55
Boyle. George
Piano
1924-26
Boyle, Pearl
Supplementary Piano
1924-26
Braun. Edith Evans
Elements of Music
1942-69
Brees. Anton
Campanology
1929-33
Britt, Horace
Violoncello
1924-25
Brodsky, Jascha
Violin and Chamber
Music
1932-33;
1941-42;
1955-
Brodsky. Vera
Two-Piano Repertoire
1937-38
Buchman. Carl
Coach
1936-38
Cahier. Mme. Charles
Voice
1924-27
Cailliet. Lucien
Clarinet
1928-30
Carlyss, Gerald
Percussion
1968-
Casiello. Marianne
Voice
1974-
Caston. Saul
Trumpet
1924-42
Chambers. James
French Horn
1943-46
Chasins, Abram
Supplementary Piano
1926-34
Chilkovksy, Nadia
Eurhythmies
1946-68
ChotzinofT. Samuel
Music Criticism
1937-40
Cohen. Isidore
Chamber Music
1974-
Cole. Orlando
Violoncello
1933-34;
1939-42;
1953-
Colucci. Matthew Ph.D.
Theory
1959-71
Connell. Horatio
Voice
1924-33
Conradi. Austin
Piano
1924-25
Coryell. Marian
Supplementary Piano
1927-32
Costello. Marilyn
Harp
1961-
Cox. Mary Anthony
Theory-
1969-74
Dalley. John
Chamber Music
1968-71
Deak. Stephen
Violoncello
1929-32
de Gogorza, Emilio
Voice
1925-40
de Lancie. John
Oboe and Woodwind
Ensemble
1954-
de Luca. Giuseppe
Voice
Died before
he began
to teach
de Montoliu. Placido
Eurhythmies and
Platform Deportment
1925-40
de Pasquale. Joseph
de Santis. Louis
Viola
Clarinet
1964-
1930-31
del Negro. Ferdinand
Bassoon and
Contrabassoon
1928-39;
1944-46
Diller. Angela
Theory
1924-25
Dippel. Andreas
Operatic Training
1924-25
Dodson, Glenn
Trombone
1969-
Donatclli. Philip
Tuba
1928-42
Douty. Nicholas
Oratori<i and
Repertoire
1924-25
Drummond. Ethel S.
Theory and
Supplementar)' Piano
1924-33
ElTron. David
Opera
1970-
Elo. Reiko
Accompanist
1959-60
Eto. Toshiya
Violin and String
Ensemble
1953-61
Farnam. Lynnwood
Organ
1927-30
Feuermann. Emanuel
Violoncello
1941-42
Fields. Eleanor
Supplementary Piano
1926-28
Fink. Myron
Theory and Composition
1970-73;
1974-
Name Subject
Years
Name Subject
Years
Flagello, Nicholas
Composition
1964-65
Jones. Mason
French Horn and Brass
1946-
Flesch. Carl
Violin
1924-28
Ensemble
FonarofT, Vera
Violin
1929-33
Kaufman, Harry
Accompanying
1924-41
Freschl.
Kincaid, William
Flute and Woodwind
1924-67
Marion Szekeley
Voice
1945-50
Ensemble
Frantz. Florence
Assistant in Piano
1930-33
King, Samuel Arthur
Platform Deportment
1924-32
Fugmann. Andreas
Opera Coach
1932-33
Kovar. Simon
Bas.soon
1939-42
Fulton. Thomas
Opera
1973-
Krauss. Samuel
Trumpet
1947-68
Galamian. Ivan
Violin
1944-
Krell. John
Flute
1967-71
Galimir. Felix
Chamber Music
1972-
Krzywicki. Paul
Tuba
1972-
Gari. Giulio
Voice
1970-
Kullman. Charles
Voice
1971-72
Gerhard. Charles
Trombone
1931-42
Lallerstedt. Ford
Theory
1973-
Germani. Fernando
Organ
1931-33
Lambert. Alexander
Piano
1928-30
Giannini. Vittorio
Composition
1956-64
Landowska. Wanda
Harpsichord and Lecturer
1925-28
on Ancient. 17th and
Gigliotti. Anthony
Clarinet
1951-
18th Century Music
Gittelson. Frank
Violin
1924-27
Laredo. Jaime
Violin
1971-
Goldovsky. Boris
Opera Coach
1931-37
Lawrence. Lucile
Harp
1927-33
Graf. Herbert
Opera
1950-60
Lee. Syh'ia
Vocal Repertoire and
1970-
Gregory.
Interpretation
Euphemia Giannini
Voice and Italian
1927-74
Lert. Ernst Joseph
Maria. Ph.D.
Diction
Operatic Acting
1936-38
Grubh. Thomas
Vocal Coach in French
1970-
Levin. Robert D.
, Theory
1968-73
Diction
Levin. Sylvan
Opera Coaching.
1929-39
Grupp. David
Percussion
1950-53
Accompanying and
Guetter, Walter
Bassoon
1925-32
Assistant Conductor
Gusikoff. Charles
Trombone and Brass
Ensemble
1947-66
Levine. Joseph
Supplementary Piano
and Opera Class
Accompanist
1932-41
Guth. Otto
Opera
1973-
Levine. Rhoda
Opera and Drama— Dance
Voice
1970-
Hageman. Richard
Vocal Coach
1925-29
Lewis. Richard
1968-71
Harms. William
Supplementary Piano
1931-40
Liebling, Estelle
Lipkin. Seymour
Littletield. Catherine
Voice
1937-38
Harrison. James
Theory
1970-72
Piano
1969-
Harshaw, Margaret
Voice
1970-
Dancing
1930-31
Hartzer. Richard
Violin
1925-28
Loeb. David
Theory
1973-
Head. Marion
Violin
1939-42
Longy. Renee
Solfege
1926-41
Heifetz. Ruvin
Violin
1936-38
Lotz. Paul
Trombone
1925-26
Heliner. Eugene
Accompanist
1937-40
Luboshutz. Lea
Violin
1927-47
Hilsberg. Alexander
Violin and Conductor of
Orchestra
1930-53
Luvisi. Lee
Piano
1956-62
Macatsoris. Chris
Opera
Clarinet
1970-
Hinger. Fred
Percussion
1953-68
Mc Lane. Ralph
1947-51
Hot'mann. Josef
Piano
1924-38
Makanowitzky. Paul
Violin
1965-71
Hodge. Muriel
Supplementary Piano
1927-28
Mann. .Alfred
Recorder
1939-41
Hoibv. Lee
Theory
1950-52
Mario. Queena
Voice
1931-33
Hollingsvvorth. Stanley
Theory, Solfege and
Opera Coach
1949-55
Martin. Louis
Theory
1969-73
Martinu. Bohusla\
Composition
1955-
Horner. Anton
French Horn
1924-42
Massena. Martha
Horszowski. Mieczyslaw
Piano
1942-
Halbwachs
Supplementary Piano
1927-40:
Irons. Diedre
Supplementary Piano
1969-
1946-
Jacobinoff. Sascha
Violin
1924-27
McCurdy. Alexander
Organ
1935-72
Jaflfe. Charles
Chamber Music
1941-42
McGinnis. Robert
Clarinet
1934-40
Johnson. Gilbert
Trumpet
1969-
MeiflT. Albert
Violin
1928-32
Name Subject
Years
Name Subject
Years
Menotti.
Composition and
1941-55:
Rudolf. Max
Opera and Orchestra
1970-73
Gian Carlo
Dramatic Forms
1965-71
Ruhrseitz. Esther
Voice and Coach
1925-27
Meredith, Eleanor
Solfege
1930-33
Ruhrseitz. Kurt
Vocal Coach
1925-26
Mertens. Georges
Opera Coach
1931-32
Rulau. Ellen
Voice
1970-
Miller. Frank
Violoncello Class
1932-33
Rupp. Franz
Coach and Vocal
1968-72
Mitchell. Ercelle
Supplementary Piano
1927-28
Repertoire
Mlynarski, Emil
Orchestra and
1929-31
Salmond. Felix
Violoncello
1925-43
Conducting Class
Salzedo. Carlos
Harp
1924-61
Moiseivitsch. Benno
Piano
1926-27
Saperton. David
Piano
1924-41
Morris. Reginald O.
Composition and Theory
1926-28
Scalero. Rosario
Composition
1924-33:
Morrisett. James S.
Supplementary Piano
1926-27
1935-46
Munz. Mieczyslaw
Piano
1930-32:
Schneider. Mischa
Chamber Music
1970-
1941-42
Schoenbach. Sol
Bassoon
1943-44:
Nazarevitsch. Xenia
Supplementary Piano
1925-32
1946-
Ninomiya. Yumi
Violin
1970-
Coach— Woodwind
Ensemble
1974-
Norden. Lindsay
Theory
1924-26
Schorr. Friedrich
Voice
1943-45
Ormandy. Eugene
Orchestra
1968-
Schulman. Leonard
Percussion
1947-50
Paget. Ethel M.
Supplementary Piano
1927-32
Schumann. Elisabeth
Voice
1937-47
Panitz. Murray W.
Flute
1969-
Schwar. Oscar
Tvmpani
Double Bass
1925-42
Parme. Fred
Saxophone
1926-27
Scott. Roger
Sembrich, Marcella
1948-
Pastor. Freda
Supplementary Piano
1936-
Voice
1924-32
Penha. Michel
Violoncello
1924-25
Serkin. Rudolf
Piano
1939-
Petit. Annie
Theory
1974-
Sharlip, Benjamin
Shumsky, Oscar
Simons. Gardell
Chamber Music Coach
1932-34
Piatigorsky. Gregor
Violoncello
1942-51
Violin
1961-65
Pons. Max
Coach
1928-38
Trombone
1924-30
Popper. Felix
Opera
1974-
Singher, Martial
Smith. Henry Charles
Voice and Opera
Trombone. Tuba
1955-68
Portnoy. Bernard
Clarinet
1943-47
1966-67
Press. Michael
Violin
1924-25
and Brass Ensemble
Primrose. William
Viola and Chamber Music 1942-51
Smith. Joy Pottle
Supplementary Piano
1969-70
Rachlin. Ezra
Supplementary Piano
1936-37:
1939-41
Smith. Lawrence L.
Opera Department
1969-70
Smith. William R.
Orchestra
1953-
Reimesch. Ilsa
Accompanist and Coach
1927-30
Soffray. Anne-Marie
Theory and Solfege
1928-32:
Reiner. Fritz
Orchestra and
1931-41
1935-56
Conducting Class
SokolotT. Eleanor
Supplementary Piano
1936-49
Reisenberg, Nadia
Supplementary Piano
1934-38
Piano
1949-
ResnikolT. Vera
Supplementary Piano
1925-32:
1938-40
Sokolofl'. Vladimir
Supplementary Piano.
Accompanying and
1938-
Reynolds. Veda
Violin
1942-61
Coach
Rich. Martin
Coach
1947-50
Soyer. David
Violoncello
1968-
Rich. Thaddeus
Assistant Conductor
1925-26
Steinhardt. Arnold
Chamber Music
1968-
of Orchestra
Violin
1972-
Riedel. Karl
Opera Coach
1930-32
Stewart, M. Dee
Trombone
1967-
Robinor. Genia
Accompanist
1938-41
Stewart. Mrs. Wood
Voice
1924-25
Rochberg. George
Form and Analysis
1947-54
Stiihr, Richard
Theory
1939-41
Rod/inski. Artur
Orchestra and
1926-29
Stokowski. Leopold
Orchestra
1924-27
Conducting Class
Stroumillo. Olga
Piano Assistant
1956-57
Rose. Leonard
Violoncello
1936-63
to Mme. Vengerova
Rosenek. Leo
Vocal Coach
1938-65
Sumsion. Herbert
Theory
1926-28
Rosenthal. Moriz
Piano
1926-28
Svecenski. Claire
Supplementary Piano
1928-32
Rubanotl'. .Iiiscph
Vocal Coach
1929-32
Svecenski. Louis
Chamber Music
1924-27
Name Subject
Tabuteau. Marcel
Taylor. Deems
Thompson. Oscar
Thompson. Randall
Torchinsky, Abe
Torello. Anton
Torello. Carl
Tree. Michael
Trepel. Shirley
Triggs. Harold
Tuttle. Karen
van Emden. Harriet
Vauclain. Constant
Vengerova. Isabelle
Vogelgesang. Frederick
vonWymetal. Eric
vonWymetal. Wilhelm
Walther. Madeleine
Watson. Mary E.
Weaver. John
Wedge. George
Westmoreland.
Elizabeth
Whiley. Helen W.
Wightman. Florence
Wilson. Steuart
Winslow. Helen
Wolmut. Hans Ph.D.
Yannopoulos. Dino
Zaninelli. Luigi
Zarzeczna. Marion
Zechiel. Ernest
Zetlin. Emanuel
Zimbalist. Efrem
Oboe and Woodwind
Ensemble
Composition
Professional Criticism
Orchestration
Tuba
Double Bass
Double Bass
Chamber Music
Viola
Violoncello
Two-Piano Repertoire
Viola
Voice
Theory and Composition
Piano
Violin
Assistant in Operatic
Acting
Operatic .Acting
Voice
Supplementary Piano
Organ
Theory
Music Director—
Opera Department
Vocal and Opera Coach
and Repertoire
Theory
Harp
Voice. Vocal Ensemble
and Repertoire
Accompanist-Coach
Opera
Opera
Theory
Supplementary Piano
Theory
Violin
Violin
Years
1925-42;
1943-54
1925-26
1931-32
1939-41
X'iei-ll
1926-42;
1947-48
1943-47
1968-
1972-
1946-49
1937-38
1945-55
1926-36
1939-63
1924-56
1938-42
1931-32
1927-34
1925-27
1926-27
1971-
1924-26
1957-67
1930-70
1925-26
1926-27
1939-41
1925-35
1939-41;
1942-50
1970-
1954-59
1962-
1928-33
1925-28
1928-68
Faculty for A cademic Studies
Name Subject
Years
Name Subject
Years
Adler. Lawrence
Head of .Academic
Department
1924-26
Alw\ ne. Horace
Histop. of Music
1926-28
Aeuilar. Karen
'^ Mar> Ph.D.
English Literature and
English Composition
1972-
.\uker. Hazel
Tutor
1961-66
Ballv. Georges
French
1926-27
Battin. Isaac L.
.Acoustics
1926-27
Beck. Jean B. Ph.D.
French and History of
Music
1924-38
Bourdin-Bacher. Marie
French
1926-28
Boyd. Morrison
Histor\ of Music
1924-25
Brecht. Harold
Elementary French
1964-65
Connelly. Lawrence
Tutor
1974-
Corv^in. Marion
Tutor
1955-61
Daudon. Rene J.
French
1929-38:
1957-64
de Bros. Esther
German Diction
1973-
de Montoliu. Placido
Spanish and Italian
1933-
1940
di Blasi. Maria Rota
Italian
1971-
de Blasi.
Sebastiano Ph.D.
Italian
1958-72
Ealer. Sarah Jane
Tutor
1952-56
Eastman. Katherine
English
1929-30
Emgarth. .Annette H.
French
1965-66
Englander. Lester
French
1937-41
Fernberger. Samuel
Psychology^
1926-32
Field. Eleanor
Tutor
1939-41
Finn. Caesar
■Applied .Aesthetics
1931-32
Fitzpatrick. Eleanor
Tutor
1951-66
Gaujot. Marguerite
French
1954-55
Gardiner. Walter
Tutor
1951-52
Gerassi. Stepha
German and Russian;
Russian Literature
1969-
Gerson. Robert
English Diction
1951-52
Gregoretti. .Anna
Italian Diction
1973-
Gregory.
Euphemia Giannini
Italian Diction
1938-64
Hadley. Katharine
Tutor
1958-66
riarbeson. William Page
English Composition.
Literature and Poetrv
1925-33
Harley. Katharine
Tutor
1952-55
Harris. Stephen B.
Tutor
1969-73
Hart. Deborah
Tutor
1974-
Kina. Gordon C.
English
1925-26
King. Samuel .Arthur
English Diction
1924-32
Klarmann. .Adolf Ph.D.
Great Books
1958-61
Kormi. Iraj
Tutor
1973-
Krause. Katherine C.
Tutor
1969-70
Lenrow. Elbert
English
1926-32
Ludwig. Elizabeth S.
Tutor
1969-73
McLaughlin. Nancy
Tutor
1951-53
Mauclair. Blanche
French
1954-57
Mayo. Elton B. M.D.
Psychology
1924-26
Motten. Louise
Tutor
1957-59
Nichols. Roy F. Ph.D.
World History-
1925-32
Nolan. Patrick J.
English Composition
1970-71
Pavicic. Nick J.
Tutor
1970-73
Padow. Phyllis
Tutor
1973-
Pechin. Marguerite
French
1954-64
Rantz. Jock
English Diction
1946-50
Rawson.
Therese Casadesus
French
1969-
Saumelle. Minna
Special Diction for
Singers
1925-31
Schoenbach.
Peter J. Ph.D.
Portuguese and Spanish:
20th Centur\ Latin-
.American Literature
1974-
Seiver. Lawrence
Tutoring
1970-73
Siena. Daniela
Italian Diction
1970-73
Shaffer. Esther
Tutor
1930-31
Shryock. Richard
World History
1924-25
Shumwav.
Man Q. Ph.D.
German
1930-69
Singher. Margareta
French Grammar and
Diction
1962-63:
1965-67
Summers. Helen
English
1928-31
Tabuteau. Louise .Andre
French Grammar and
Diction
1938-54
Turk. Martha
German
1931-41
Vittorini. Domenico
Italian and Italian
Renaissance
1924-29:
1939-58
von Gronicka. Hilda
German Diction
1970-72
Wallace. Robert
Tutor
1957-58
Wehr. Mentzer
Science
1929-32
Weisand.
Hermann J. Ph.D.
German
1924-29
Wesner. Map. B.
Tutor
1927-50
Wittman. Jean Frois
French
1924-26
Woldin. Richard
Tutor
1973-74
Wolfson. Nessa
English for foreign
students
1974-
The Curtis Institute of Music Administrative Staff, 1924-1974
Directors
Grolle.Joluum 1924-25
Walter. William E. 1925-27
Hofmann, Josef 1 92 7-38
Thompson. Randall 1939-41
Zimbalist. Efrem 1941-68
Serkin. Rudolf 1968-
Deans
Spofford. Grace H. 1924-31
Bellamann. Henry 1931-32
Dean and
Administrative
Coordinator
Schoenbach. Peter J. Ph. D. 1 9 73-
Manager
and Artistic
Coordinator
Checchia. Anih
any
Comptrollers
1968-
Eastman. Hiram W . 1925-35
Mattis.JayH. 1936-68
Stevenson. Sumner W. 1968-
Staff
Adler. Laurence
A llan. Caroline M.
Balcom, Margaret
Barr. A nne \f.
Barth. Joan
Bauer. Dorothy
Begley. Muriel D.
Benkert. Margaret
Bet:. Marie
Borda. Edith K.
Bowman. Dorothy Lynch
Brunson. Thelma W.
Burton. Frances
Camp. Marjorie M.
Carlton. William C
Chamberlain, Inger- Marie
Colgan, Alice E.
Copley. Richard
Corliss. Reginald S.
de Montoliu. Placido
Demurest. Charles
Dickey. Josephine
Driesbach. Martha E.
Druian. Phyllis Rugg
Dungan. Harriet P.
Eichman. Marian D.
Erichson. Elizabeth E.
Ferguson. Howard T.
Fickes. A nne M.
1924-25
Fisher. Maude
1930-31
1951-56
Frederick. Emma Mae
1927-44
1933-41
Gardner. Ruih P.
1959-62
1939-43
Gibson. I irginia
1932-36
19^1-
Good. Dorothy A.
1960-64
1926-27
Gotlobe. Jack L.
1954-61
1959-60
Grady. Sheila
19W-72
1927-32
Haddad. Sonya
1968-69
1936-41
Hangliier. Sell
1933-36
1947-51
Harmaala. John
1934-40
1928-39
Harris. Goejfrey
1929-32
1962-
and 1935-36
1936-39
Harnnan. Elizabeth R.
1946-53
1950-51
Henry. Barbara D.
1973-
1930-32
Henshaw. Harold C
1953-63
1969-
Hess. EUzabeth H.
1928-33
1957-59
Hettinger. Sarah
1926-42
1929-31
Hewes. Irene Hale
1927-33
1950-53
Hocker. C. David
1938-39
1933-40
Holmes. Patricia
1947-51
1924-32
Hoopes. Helen
1927-59
1937-42
Hopkins. Patricia K.
1951-54
1925-27
Hulbert. Hilda
1926-27
1936-46
Hutt. Elsie
1929-43
1954-^2
Johnson. Sigrid C.
1956-65
1972-
Jones. Doris
1940-41
1960-68
Jones. Helen
1939-41
and 1972-
Jones. Mary E.
1930-33
1969-72
Kardon. Donald
1974-
1964-72
Keenan. George
1928-29
Kendall. Janet
1972-
Saborsky. Elsie
1928-31
Kerner, Helen D.
1942-44
and 1943-47
Lenrow. Elbert
1929-31
Saille. Ella
1929-42
Llenellvn. Daniel A/.
1963-72
Saperton. David
1927-29
Lockhart. Florence
1924-47
Schilder. Rosalind
1972-
Luck. Andrei'
1932-34
Schlegal. Jeanne E.
1948-51
Limquest. Mignon
1927-30
Sha\y. Madge
1928-31
Lytle. Maud Louise
1944-72
Shear. Nancy
1973-
McCallip. Emily
1924-32
Shusier. Ethel E.
1946-49
McKnight. Catherine
1936-41
Simek. Jean Moore
1954-56
Malleti. Laura
1927-33
Smith. A nne O.
1956-69
Mann. A If red
1939-42
Speiser. Henriette
1969-70
Mapes. Gordon
1933-42
Squire, Helen C.
1969-73
and 1955-73
Stoer. Margaretta
1972-
Martinis. Louise
1928-34
Stokes. Katharine
1936-37
Mayer. Elinor
1926-28
Strasser. H illiam
1928-42
McClelland. Jim
19-^3-
Suter. Hilda
1927-32
Meyer. Jane Hill
1926-61
Swartz. Anne
1928-32
Mittnaclu. Keo
1973-
Swenson. Elizabeth Zandt
1925-32
Myers. Charles E.
1951-53
Swenson. Margaret G.
1925-31
Nice. Ethel Kingslev
1925-27
Taynton. Jesse
1940-42
and 1931-57
Troll, Eda
1929-34
Nimis. Adela
1930-31
Troll. Lara M.
1928-35
Pearson. Evelvn
1973-74
Vertner. Jeannette
1936-38
Perry. Thomas D. Jr.
1939-41
Week ley. Shirley
1973-
Phillips. A ndrew
1929-33
White. Josephine
1934-38
Press. Dinorah
1972-73
Winn. Margorie
1926-34
Raymond. Emil
1927-32
Woods. W. Creary
1930-38
Rinehart. Lois
1936-41
Yoshida. Marie
1974-
Robbins. Abigail R.
1944-46
Zimbalist. Efrem Jr.
1952-54
Zitzelman. .Martha
1929-32
^
^"/-^hv:
L.
Library
During the second academic year (1925-26). Mrs. Bok turned her attention
to the estabUshment of the Library. Following the advice of Dr. William N.
C. Carlton of Williams College, an excellent basic collection of books and
music was purchased during the next five years. The Library has grown to
approximately 50.000 volumes in 1974.
The Library is made up of many collections. The largest of these.
35.000 volumes, is music for performance and study, including the complete
works of twenty-five composers as well as authoritative editions of the
works of the standard repertoire. The orchestral collection contains over
600 sets of parts and orchestrations for about fifty operas. As a supplement
are books and periodicals for reading and reference.
During the summer of 1929. a victrola and duo-art piano, along with
records and piano-rolls, were added to the Library. The piano-rolls have
been kept, but there is. at present, no piano on which to play them. The
record collection has grown steadily to a total of 1800 78"s and nearly 2000
LP's. These include recordings of Curtis performances made from 1936 to
1941. During the war years, recording was curtailed. During the 1968-69
academic year, recording of all events in Curtis Hall was resumed. From
that date, tapes have been made and are kept in the Library. In the spring
of 1973. the Opera Department began video-taping operas it produced. The
enlarged library facilities in Knapp Hall will include equipment for viewing
these tapes and cases for special exhibits. The listening facilities have been
considerably expanded. In addition to 'urntables and tapedecks with
earphones, there is a sound-proofroom equipped with speakers.
The Library is steadily increasing its services for current information.
In addition to periodicals, there is a large collection of pamphlets and
brochures about contests, competitions, festivals, summer activities, concert
schedules of major organizations from all over the world, publishers"
catalogs, etcetera. There is also a special board listing auditions and job
opportunities. This material is in constant use by students and faculty.
The treasures of the Library are the "Special Collections" which
Curtis has taken the responsibility to preserve for future generations.
Mrs. Zimbalist took a special interest in this part of the Library and her
gifts over the years were extensive. These gifts have included musical
manuscripts, letters, early printed books, and first editions. The oldest item
in the collection is the organ tablature. the Praeludia of Adam Ileborgh,
written in 1448. and believed to be the earliest book of organ music with
pedal parts. Perhaps the most beautiful of the manuscripts is the holograph
score of Bach's Cantata No. 180, Schinucke dich o Hebe Seele. This
particular manuscript was used as the basis for the Bach Gesellschaft
edition of the cantata published in 1888. also owned by the Library.
Another rare manuscript is that of a Te Deum of Liszt, dated May 1867.
There are also manuscripts and letters of Barber. Brahms. Menotti, Mozart,
Schubert, and Schumann. Printed books include the 3rd edition of Pietro
Aron's Toscaiiello in Musica (1529). an important early theory book, and
the Carmina of Augurellus (1491) which contains the earliest illustration of
a viola da gamba. Just a sampling of the important first editions given to
the Library by Mrs. Zimbalist are a score of Wagner"s Die Feen. in an
edition privately printed by the King of Bavaria about 1872; a piano-vocal
score of Gluck's Orfeo ed Euridice. published in Paris by Chambon in 1764;
the first edition of the complete set of Bach's Brandenburg Concerti, printed
in 1850 by Peters of Leipzig; and a set of orchestral parts of Beethoven's
Symphony No. 9. published by Schott in Mainz. 1826.
In 1930. Mrs. Bok purchased for the Library the Burrell Collection
of Wagneriana, at that time the most important group of unedited and
unpublished Wagner documents in existence. There are over 800 items,
including letters, documents, biographical material, drawings, portraits,
and manuscripts.
.Another interesting and \aluable collection of music was presented to
The Curtis Institute in 1935 b\ the trustees of the Drexel University and the
heirs of Charles H. Jarvis. It contains some 1700 volumes, chiefly 1 9th
Centurv imprints of chamber music, piano, and violin music. Also included
are sets of the Breitkopf edition of the complete works of Mendelssohn and
Mozart and some valuable early Handel editions. The rare material is
housed in a separate "Special Collections Room."
The Library is the richer for collections of music, manuscripts, and
memorabilia from former faculty members: Lynnwood Farnam. .losef
Hofmann. William Kincaid. Carlos Salzedo. .Anton Torello.
and Efrem Zimbalist.
Through the years, scrapbooks and clipping files have been
maintained v\hich pro\ ide a fascinating record of Curtis itself, its faculty.
students, and indeed of the musical life of this country.
The librarians who have carried on the work of servicing these
collections are: Marjorie Wynn ( 1927-35): Sarah Hettinger (1935-42);
Phyllis Druian (1942-47): Elizabeth Hartman (1947-54): Jack Gotlobe
(1954-61); Gordon Mapes ( 1962-73); and Barbara Henr>'(1974- ).
New Library facilities will make all of this material more accessible
and easily usable, not only for Curtis students, faculty, and alumni, but
also for the scholarly community in general. This is as it should be. for a
description of the Library made in 1939 by Dr. Otto E. Albrecht is as apt
today as it was then: "Its treasures . . . are so rich and varied that even a
scholar with no classes to attend or practicing to do would require a long
time adequately to investigate them." (Overtones, December, 1939)
Voice
Marcella Sembrich and Emilio de Gogorza, distinguished members of
the MetropoHtan Opera, were the leading instructors in voice during
the first years. They were assisted by Horatio Connell. Mme. Charles
Cahier. and Harriet van Emden. In 1932. illness forced Mme.
Sembrich to retire. Queena Mario of the Metropolitan Opera
succeeded her. Mr. de Gogorza retired in 1940.
The Institute has always attracted some of the finest vocal
teachers and coaches in the world. Guiseppe de Luca. who had been
engaged to teach in 1950. died before he could assume his post.
Richard Bonelli. also of the Metropolitan, accepted his duties.
Among others who have taught in the Voice Department are; Marion
Szekely-Freschl, Euphemia Giannini Gregory, Margaret Harshaw,
Charles Kullman, Estelle Liebling. Friedrich Schorr, Elisabeth
Schumann, and Martial Singher.
Among the vocal coaches have been: Alberto Bimboni, Richard
Hageman, Sylvan Levin, Joseph Levine, Martin Rich, Leo Rosenek
(for lieder), Franz Rupp (for lieder), Max Pons, Vladimir Sokolofl',
and Elizabeth Westmoreland.
A search of the archives of the Metropolitan Opera reveals the
names of twenty Curtis students who have become members. Of these
twenty, five have studied voice at Curtis with Euphemia Giannini
Gregory, who has given Curtis forty-seven years of devoted teaching.
Since 1970. in addition to Euphemia Gregory, the instructors in
voice have been Guilio Gari, Margaret Harshaw, and Ellen Rulau.
Guiho Gari has had a long and respected career in the
Metropolitan Opera and in the New York City Opera Company.
Ellen Rulau came to the Institute from the Manhattan
School of Music.
Margaret Harshaw, a native Philadelphian, has had a fine career
in the Metropolitan Opera where she has sung leading contralto roles
in Wagnerian operas, and, later, leading soprano roles. She has also
been heard in other opera roles both abroad and in this country. In
addition to her work at Curtis, she has been a Professor of Music at
the University of Indiana since 1962.
Voice Repertoire and InlerpreUilion are currently taught by
Sylvia Lee and Vladimir Sokoloff. Sylvia Lee, formerly assistant to
Max Rudolf in Cincinnati, came to Curtis in 1970 when Mr. Rudolf
began to enlarge the Opera Department. Presently, she teaches Vocal
Repertoire and Interpretation exclusively for opera. Vladimir
Sokoloff. a graduate of Curtis, has been a member of the faculty since
1938 as a teacher of supplementary piano, as accompanist, and as
vocal coach. He is now instructor in Vocal Repertoire and
Interpretation exclusively for art songs.
Curtis Students Who Have Become Members of the MetropoUtan Opera , 1924-1974
Name Date of Debut
Alarie. Pierette
Bampion. Rose
Berini. Mario
Blegen, Judith
Bodanva. Natalie
Boucher. J. Ronald
Di Giuseppe, Enrico
Giiarrera. Frank P.
Jepson. Helen E.
Kirk, Florence
Kraft. Jean
Lerch. Louise
Mac Waiters, Virginia
Marlowe, Anthony
Mittleman, Norman
Moff'o, A nna
Petina. Irra
Troxell, Barbara
Uppman, Theodore
Valente. Benita
Decembers, 1945
November 28, 1932
November 28, 1946
September 19, 1970
May 11. 1936
September 16, 1966
June 20, 1969
December 14. 1948
January 24. 1935
November 29. 1944
February 7. 1970
November 10. 1926
June 10. 1953
January 1. 1940
October 28. 1961
November 14. 1959
December 28. 1933
December 28, 1950
November 18. 1953
September 22. 1973
Role
Oscar— Ballo en Maschera
Laura— La Giaconda
Faust— Faust
Papagena—The Magic Flute
Micaela— Carmen
Scarus— Anthony and Cleopatra
Alfredo— La Traviata
Escami Ho— Carmen
Helene—In the Pascha 's Garden
Donna Anna— Don Giovanni
Flora— La Traviata
Countess— Rigoletto
A dele— Die Fledermaus
Sailor's voice— Tristan and Isolde
Herald— Lohengrin
Violetta—La Traviata
Schwertleite—Die Walkiire
Inez— II Trovatore
Pelleas—Pelleas el Melisande
Pamina—The Magic Flute
Curtis Voice Teacher
Schumann
Conncll and Mario
de Gogorza
Gregory
Sembrich
Gregory
Bonelli
Bonelli and Gregory
Connell
de Gogorza and Sembrich
Gregory
Sembrich
Connell and de Gogorza
Bonnelli and Singher
Gregory
van Emden
Schumann
Wilson
Singher
Opera At The Curtis Institute of Music opera has always been an integral
Department part of the students' training in Voice. Marcella Sembrich and Emilio
de Gogorza, both internationally acclaimed, brought to their students
a knowledge and love of opera resulting from their highly successful
careers. Beginning in 1931, Boris Goldovsky, a graduate of the
Institute and son of Lea Luboshutz, coached until 1937 when he went
on to build his own opera company.
As early as May 12, 1929, a student production of D'Albert's
Tieftand was presented in two performances at the Academy of Music.
Artur Rodzinski conducted and Wilhelm vonWymetal staged the
production.
When the Institute affiliated with the Philadelphia Grand Opera
Company in the 1929-30 season, the Department was directed by
Emil Mlynarski with Wilhelm vonWymetal as stage director. During
this period, Curtis students participated in the following productions
of the opera company: The American premiere of Eugene Gossens'
one act opera Judilh (December 26, 1929), Pagliacci, Cavalleha
Rusticana. Le Jongleur de Notre Dame, Aida, Die Enlfuhrung aiis dem
Serail, and the American premier of Alban Berg's Wozzeck conducted
by Leopold Stokowski on March 19, 1931.
The students were fortunate in having Leopold Stokowski with
his vital interest in the Institute, anxious to give them the opportunity
to participate in his productions of opera with The Philadelphia
Orchestra. Excellent performances in April 1930 of Schonberg's Die
Glitckliche Hand were given at the Metropolitan Opera House in
Philadelphia and later at the Metropolitan in New York. Sylvan
Levin, a graduate of The Curtis Institute and a fine conductor,
rehearsed the cast for Mr. Stokowski.
In 1930-31, more than twenty students appeared in twenty
operas, playing 100 roles of which six were leading ones.
The arrangement between The Curtis Institute of Music and the
Philadelphia Grand Opera Company ended during the depression of
the early 1930's. Emil Mlynarski retired in May 1931. Fritz Reiner
succeeded Mlynarski in the Opera Department and was also
Conductor of the orchestra.
In the Academy of Music, Fritz Reiner conducted the
performances of// Barbiere di Siviglia in 1935, and on April 1, 1937
the world premiere of Gian Carlo Menotti's first opera, Amelia Goes
to the Ball, together with Le Pauvre Matelot by Darius Milhaud.
The Philadelphia Opera Company, founded by Sylvan Levin
and David Hocker in 1937. provided more Curtis students with
experience in a professional opera company. Among its productions
was the world premiere on stage of another opera by Gian Carlo
Menotti, The Old Maid and the Thief. The roles of the old maid and
the thief were sung by Gabrielle Hunt and Robert Gay. Miss Todd
was sung by Hilda Morse. All three were Curtis students. This comic
opera, commissioned by The National Broadcasting Company, was
first performed on the radio April 22. 1939.
John Wolmut. previously stage director of the Philadelphia
Opera Company, joined the opera department at Curtis in 1942-43
and continued until 1950. Dr. Herbert Graf who fled from Europe in
1934. became head of the department in 1950 and remained in that
post until 1960 when he resigned to become head of the Zurich Opera
Company. During his years at Curtis, he was also stage director of the
Metropolitan Opera.
As part of the commemorations of the Institute's twenty-fifth
anni\ ersary. Efrem Zimbalist conducted an evening of opera at the
Academy of Music on January 6. 1949. John Wolmut was the stage
director and Elizabeth Westmoreland was the associate music
director. The operas were: Menotti's first opera. Amelia Goes to the
Ball; Leoni's L 'Oracolo: and "The Letter Scene" from Eugen Onegin
by Tschaikovsky.
In 1956. Herbert Graf staged Efrem Zimbalist's opera. Laiidara.
It was composed as an eightieth birthday gift for Mary Curtis
Zimbalist and two all-student performances were conducted by the
composer in the Academy of Music.
In 1958. Dr. Graf staged Puccini's Sour Angelica and Gianni
Schicchi.
Martial Singher. the former Metropolitan Opera baritone,
became head of the Opera Department when Herbert Graf left in
1960. Mr. Singher inaugurated the practice of presenting scenes from
operas, and. on occasions, whole acts from standard repertory as
experiences in opera training. These were given as opera class
productions within the limitations of Curtis Hall, a small concert
auditorium, until the workshop was constructed above Curtis Hall. In
1961. Mr. Singher staged Cosi Fan Ttitte. II Barbiere di Siviglia in
1963, and La Boheme in 1964. Three Curtis graduates, now members
of the Metropolitan Opera, had their first training for opera with
Martial Singher; Judith Blegen, Norman Mittleman, and Benita
Valente.
In 1970. Rudolf Serkin invited Max Rudolf, then conductor of
the Cincinnati Symphony Orchestra, to enlarge the training for
careers in opera. Students under twenty-six years of age who had
previously studied elsewhere were admitted to Curtis for additional
training.
Mr. Serkin and Mr. Rudolf collected a strong faculty and staff.
The success of the plan was apparent from the beginning.
Under Mr. Rudolfs direction, Wolf-Ferrari's The School for
Fathers w&s presented in 1971. It was followed by Handel's Rodelinda
and a spectacular performance of Richard Strauss' Ariadne auf Naxos
in 1973. That same year, Mr. Rudolf returned to the MetropoHtan
Opera to continue his work there.
In September 1973. Dino Yannopoulos accepted the
responsibility as head of the Opera Department and continued as
stage director. Under his leadership. Stravinsky's The Rake's Progress,
Mozart's The Abduction from the Seraglio, and Donizetti's Don
Pasquale were produced. These seldom-performed operas-each a
masterpiece in its own right— were given at the Walnut Street Theatre.
Philadelphia, with the Curtis Symphony Orchestra in the pit. These
productions made a contribution to the musical experience of the
community.
During the 1973-74 year, four operas of the regular repetoire
were produced in the Curtis Studio: Tosca. Barber of Seville,
Rigoletto. and Traviuia.
Since 1970. few changes have been made in the Opera
Department's personnel. For 1974-75. the faculty includes: Dino
Yannopolis (Head of the Opera Department and Stage Director);
David Effron (Principal Conductor of the Opera Department);
Margaret Harshaw (Vocal Instructor); Otto Guth (Instructor in
charge of the Special Studies Program of the Opera Department);
Thomas Fulton (Assistant Conductor and Coach); Chris Macatsoris
(Coach); Felix Popper (Coach): Rhoda Levine (Drama and Dance
Instructor); Anna Gregoretti (Italian Diction); Thomas Grubb
(French Diction); Esther de Bros (German Diction); Anthony
P. Checchia (Artistic Coordinator and Manager).
Piano At The Curtis Institute of Music, the study of piano has received great
emphasis. Josef Hofmann was the leader of the piano facuhy from
1924 until his resignation in 1938. From 1927 to 1938. he was also the
Director of the Institute.
Mr. Hofmann. a recognized master of the keyboard, was
particularly distinguished for his teaching. He initiated and
encouraged the superior quality of the program which has been
carried on by such fine teachers as Wilhelm Bachaus. Jorge Bolet.
George Boyle. Berthe Bert. Abram Chasins. Austin Conradi. Harry
Kaufman. Alexander Lambert (until his death in 1929). Lee Luvisi,
Benno Moisevitch. Mieczyslaw Munz, Nadia Reisenberg. Moriz
Rosenthal. David Saperton. and Isabelle Vengerova. During the first
year of the school. Angela Diller. the founder of the Diller-Quaile
method, was also a member of the faculty: and Wanda Landowska
taught the harpsicord (1925-28).
Rudolf Serkin joined the piano faculty in 1939. combining, like
so many master teachers at the Institute, extensive concertizing with
brilliant teaching. In 1968. Mr. Serkin added to these activities the
duties of Director of the Institute.
In addition to the Director, the present faculty includes
Mieczyslaw Horszowski. Seymour Lipkin. and Eleanor Sokoloff. Even
before his New York debut at the age of fourteen. Mr. Horszowski
had made a number of concert tours of Europe. His international
reputation as pianist and teacher is of the highest order. Mrs. Sokoloff
is a graduate of The Curtis Institute and was a student of David
Saperton. Mary Bok arranged for Eleanor and her husband. Vladimir
Sokoloff (also a Curtis graduate and a student of Kaufman) to study
two-piano repertoire with Harold Triggs and Vera Brodsky. Seymour
Lipkin, also a graduate of Curtis, studied with David Saperton. Jorge
Bolet. Mieczyslaw Horszowski. and Rudolf Serkin.
Organ Attention to the organ at The Curtis Institute of Music reflects a
special interest shared by the founder and her father. Cyrus H. K.
Curtis.
Lynnwood Farnam. the first instructor, was a distinguished
Canadian organist and teacher. He had established his work on a firm
basis before his untimely death in 1930. Dr. Clarence Dickinson
taught the organ students for the remainder of the term, and
Fernando Germani was appointed to the faculty at the beginning of
the 1931-32 academic year.
On the recommendation of Leopold Stokowski. an early
addition to the study of organ and composition was the study of
campanology at the Bok Singing Tower in The Mountain Lake
Sanctuary. Lake Wales. Florida. Anton Brees. the Belgian
carillonneur. taught the course from 1929 until 1933. .'\mong his
students were Lawrence Apgar. Samuel Barber. Robert Cato.
Alexander McCurdy. Jr.. Gian Carlo Menotti. Remy Mueller. Nino
Rota, and Carl Weinrich.
In 1933. the teaching of organ and carillon was suspended. Two
years later, when .Me.xander McCurdy. Jr.. a student of Lynnwood
Farnam, became instructor in organ, it was decided not to reinstate
the study of carillon. In addition to the mastery of the organ.
Dr. McCurdy trained his students to be choirmasters: encouraged
them to study voice: coached them to conduct from the console: and
taught them anthem and oratorio accompaniments.
Alexander McCurd) was also organist and choirmaster at the
First Presbyterian Church in Philadelphia for forty-four years and
taught for twentv-five years at Westminster Choir College in
Princeton. New Jersey.
Dr. McCurdy continued in his position until 1972 when his
student. John Wea\er. assumed the post. Mr. Weaver is continumg
the breadth of instructions de% eloped by Alexander McCurdy. He is
also organist and choirmaster of the Madison .Axenue Presbyterian
Church. New York City.
Violin Carl Flesch was instructor of Violin at Curtis from 1924 to 1928. One
of the world's foremost teachers and performers, he set the tone for
the equally distinguished artists who followed.
Leopold Auer. who taught Efrem Zimbalist. Jascha Heifetz,
Mischa Elman. and Toscha Seidel. came to the Institute in 1928 and
remained until his death in 1930 at the age of eighty-five. Mr. Auer's
long and distinguished career endeared him to students and audiences
the world over.
Efrem Zimbalist joined the violin faculty in 1928 and taught for
forty years. Although he accepted the duties of Director of the
Institute June 1. 1941. he continued to teach and to compose until his
retirement in May 1968.
During the first ten years, other members of the violin faculty
were: Vera FonaroflT, Frank Gittleson, Richard Hartzer, Sacha
Jacobinofl". Michael Press, and Emanuel Zetlin. Lea Luboshutz taught
from 1927 until her retirement in 1947. Alexander Hilsberg joined the
department in 1930 and remained for twenty-three years. For one
season (1936-37). Ruvin Heifetz. father of Jascha.
also taught at Curtis.
In addition to the years of teaching Efrem Zimbalist gave to
students of violin, their opportunities have also been increased by
Ivan Galamian who joined the faculty in 1944 and continues to teach.
Mr. Galamian has great skill in developing the best in each student
while correcting his difficulties. Mr. Galamian was born in Tahrig.
Persia in 1906: graduated from The Moscow Philharmonic Institute in
1922: and then studied with Lucien Capet in Paris in 1923-24. He
gave recitals in France and Germany before emigrating to the United
States. He is presently on the staff' of the JuiUiard School of Music as
well as The Curtis Institute of Music.
Oscar Shumsky. a student of Efrem Zimbalist, was graduated
from Curtis in 1936. and returned to teach from 1961 to 1965.
In addition to Ivan Gamamian. there are currently four other
teachers of the violin— all graduates of The Curtis Institute of Music.
Jascha Brodsky, student of Efrem Zimbalist, joined the faculty
in 1956. He has played first violin in the Curtis String Quartet since
1932. Jaime Laredo joined the faculty in 1971. He studied with Mr.
Galamian. Yumi Ninomiya Scott, w ho has played second violin in the
Curtis String Quartet since 1969. began to teach the following year.
She studied with Mr. Galamian and Paul Makanowitzky. Arnold
Steinhardt, also a student of Ivan Galamian and a member of the
Guarneri Quartet, graduated from the Institute in 1959. He joined the
facultv for Chamber Music in 1968 and for violin 1972.
Viola During the 1924-25 season, Louis Svecenski was appointed to teach
viola. Louis Bailly arrived shortly afterward to become a force at The
Curtis Institute. Mr. Bailly was the instructor of viola and leader of
chamber music from 1925 to 1941. William Primrose joined the
faculty in 1942 and remained until 1951.
Karen Tuttle became Mr. Primrose's assistant even before her
graduation from Curtis, succeeded him in 1951, and taught for
four years.
The present faculty for the viola are graduates of The Curtis
Institute. Max Aronoffwas the first student to enter the building the
day the first classes began. He taught from 1929 to 1943 and rejoined
the faculty in 1956. Mr. Aronoff is a founding member of the Curtis
String Quartet. As founder of The New School of Music, he has
divided his time between teaching and training string players for
orchestras.
Joseph de Pasquale (Curtis '42) joined the faculty of the
Institute in 1964. He had studied with Aronoff", Bailly and Primrose
and was formerly principal violist in the Boston Symphony Orchestra.
He is now principal violist with The Philadelphia Orchestra and a
member of the de Pasquale Quartet.
Michael Tree joined the faculty in 1968 and is a member of the
Guarneri Quartet. Mr. Tree also was graduated from The Curtis
Institute of Music, where he studied violin with
Lea Luboshutz and Efrem Zimbalist.
Violoncello During the first season, the instructors in violoncello were Horace
Britt and Michael Penha, the solo violoncellist of The Philadelphia
Orchestra. At the beginning of the second season { 1 925-26), Felix
Salmond, the London-born graduate of the Royal College of Music
joined the faculty and continued to teach until his resignation in 1943.
For several years he was assisted, in turn, by his students, Stephen
Deak, Leonard Rose, and Orlando Cole. Felix Salmond was not only
one of the most distinguished violoncellists of his time, but as a
teacher at both The Curtis Institute and the Juilliard School of Music,
he had an unequalled influence on a generation of highly-gifted
students.
Emanuel Feuermann joined the faculty in 1941. What was
expected to be long tenure was cut short the first season bv his tragic
death in 1942 at the age of thirty-nine. His career was short, but he is
placed among the greatest of all string players.
Mr. Feuermann was succeeded by another great violoncellist,
Gregor Piatagorsky. who remained with the Institute until 1951 when
the demands of his concert schedule forced him to resign. His place
was taken by a graduate of the school, Leonard Rose, then beginning
his own distinguished solo career. Like Felix Salmond, he was also
teaching at Juilliard. In 1953. he was joined by Orlando Cole. Because
of the pressures of concertizing, he resigned in 1963, and Mr. Cole
assumed the faculty post.
Orlando Cole has been associated with The Curtis Institute from
its first year, as a student and then as a teacher with the longest tenure
among the instructors of violoncello. He is also a founding member of
the Curtis String Quartet. Mr. Cole has had the pleasure of seeing his
son, David, graduate as one of his students.
Previously a student of Emmet Sargent and Emanuel
Feuermann. David Soyer was appointed to the faculty for violoncello
in 1968. Mr. Soyer is also the "cellist of the Guameri Quartet.
Double Bass From 1926 to 1942 and from 1947 to 1948, Anton Torello taught
double bass at The Curtis Institute of Music. His tenure as principal
double bass player of The Philadelphia Orchestra was longer, from
1914 to 1948. Carl Torello (Curtis 35) also a member of The
Philadelphia Orchestra from 1934 to the present time, was a substitute
for his father. Anton Torello from 1942 to 1947. Roger M. Scott
(Curtis "41 ) has been principal double bass player of The Philadelphia
Orchestra since 1948 and has been on the faculty of The Curtis
Institute of Music during this same period.
They have had the distinction of being among the first
performers and teachers in the country to stress the solo qualities of
their instrument.
Individual and class instruction with participation in solo, class,
chamber music, opera, and orchestra performances have provided
their students with experience in many kinds of playing. This multi-
faceted approach has resulted in the development of a significant
number of nationally recognized instrumentalists and teachers who
have continued this long tradition of fine musicianship.
Hai'p Carlos Salzedo taught harp at The Curtis Institute of Music from 1924
until his death in 1961. He was graduated from the Bordeaux
Conservatory and from the Paris Conservatory, where he won first
prize both for harp and piano.
Salzedo was brought to this country by Gatti-Casazza and
Toscanini to be solo harpist at the Metropolitan Opera. After several
years, he left the opera company and became a leading soloist both in
this country and abroad before he began his illustrious teaching. He
was the first to bring attention to and respect for the harp from
conductors and musicians. Very little had been composed for the harp
before his time, and Mr. Salzedo composed and transcribed, with
impeccable taste, many works constantly performed in the harp
repertoire today. Mr. Salzedo designed and supervised the
construction of his own harp, which has become a model for
contemporary harps. Carlos Salzedo was a master teacher who not
only passed on the traditions of great music but added to them and
taught his students to be fine performers as well as master teachers.
His work at The Curtis Institute and the work of his students world-
wide have created a new chapter in the history of an old instrument.
Edna Phillips, a student of Carlos Salzedo and a graduate of the
Institute, was the first woman Co become a member of a major
orchestra in this country. Leopold Stokowski invited her to join The
Philadelphia Orchestra as first harpist in 1930. After a brilliant career,
she left the Orchestra in 1946.
Mr. Salzedo established The Harp Colony of America at
Camden, Maine where students from all over the world come to study
during the summer. He appointed Alice Chalifoux, first harpist of The
Cleveland Orchestra, to carry on his work there. Miss Chalifoux
arrived in Camden a few days after his sudden death. The Colony has
now completed its forty-third year and continues successfully. Alice
Chalifoux is assisted in teaching at the Colony by her niece, Jeanne
Chalifoux. Both artists were students with Carlos Salzedo at The
Curtis Institute from which they graduated in 1934 and 1951,
respectively.
Marilyn Costello, first harpist of The Philadelphia Orchestra
and a graduate of the Institute, currently teaches harp at her alma
mater as successor to Mr. Salzedo.
Flute William Kincaid, generally recognized as the outstanding flutist of his
time, was the first instructor of flute at The Curtis Institute of Music.
He had been a student of the renowned French flutist. George
Barrere, and had joined The Philadelphia Orchestra in 1921 as solo
flutist. Mr. Kincaid taught from 1924 until forced
by ill health to retire in 1967.
Mr. Kincaid selected John Krell, a Curtis graduate and member
of The Philadelphia Orchestra, to succeed him. Mr. Krell resigned
from the Institute in 1971 to write Kincaidiana—
A Flute Player's Notebook.
In 1970, Murray Panitz was named solo flutist of The
Philadelphia Orchestra and was invited to teach at the Institute.
Mr. Panitz had studied with Joseph Mariano, an early graduate of
Curtis, who is now on the faculty of the Eastman School and who was
formerly principal flutist of the Rochester Philharmonic Orchestra.
A large number of solo flutists in leading orchestras throughout
the United States are former Curtis students of
Mr. Kincaid and his successors.
Oboe Marcel Tabuteau, a graduate of the Paris Conservatory, first played
the English Horn in the New York Symphony (the present
Philharmonic) under Walter Damrosch. In 1907, he became solo
oboist at the Metropolitan Opera under Toscanini and in 1915, he
joined Stokowski and The Philadelphia Orchestra. In 1925, he came
to The Curtis Institute to teach oboe and to develop a woodwind
ensemble, which he led until his retirement in 1954.
Twelve years after the founding of the Institute, about seventy-
five percent of the woodwind sections of American orchestras were
made up of former Curtis students. Tabuteau had created a school of
oboe playing that set new standards. It brought renown to himself and
great opportunities to his students.
John de Lancie succeeded Marcel Tabuteau as first oboist with
The Philadelphia Orchestra and as instructor of oboe at The Curtis
Institute of Music. He had entered the school in 1936 to become
Mr. Tabuteau's student and was graduated in 1940. In 1950. he
helped organize The Philadelphia Woodwind Quintet. In 1965, he
succeeded William Kincaid as director of the Woodwind
Ensemble at The Curtis Institute.
Clarinet At The Curtis Institute of Music, the study of the clarinet has been
greatly influenced by Daniel Bonade who taught eight years: 1924-28.
1931-33. and 1940-42. He was succeeded by Lucien Cailliet (1928-30);
Louis de Santis (1930-31), Robert McGinnis (1934-40), Bernard
Portnoy( 1943-47). Ralph MacLane (1947-51),
and Anthony Gigliotti (1951- ).
Mr. Gigliotti (Curtis '47) has played with The Philadelphia
Orchestra for twenty-five years and is its solo clarinetist. Since
woodwind instruments are really an extension of the human voice,
the direct relationship between singing and playing is taught by
Mr. Gigliotti. Precise physiological terms have replaced vague
terminology in teaching the concepts of breath
control and tone production.
Long hours spent by Mr. Gigliotti in helping his students with
faultv or inadequate equipment have resulted in improvements on the
clarinet, ligature, and mouthpiece. Mr. Gigliotti is a consultant to the
Selmer Instrument Company, and helped to develop the Series lOG
clarinet which he plays in The Philadelphia Orchestra.
Former students of the clarinet at Curtis occupy important posts
from Israel to Hong Kong as well as in the United Stales.
Bassoon J. Walter Guetter. the first instructor of the bassoon at Curtis
(1925-32). was a member of the illustrious family of Guetter and
Moennig, makers of string and wind instruments for centuries. He
brought to the first students a nobility of tone and phrasing that is still
a model for bassoonists who treasure the Victor 78's made under
Stokowski's direction. During the periods 1928-39 and 1944-46, Mr.
Guetter's assistant, Ferdinand Del Negro, also taught
bassoon and contrabassoon.
Simon Kovar taught the bassoon at Curtis from 1939 to 1942,
the year in which the entire Wind Department was discontinued
because of the war.
Sol Schoenbach, a student of Simon Kovar, who had been
appointed to The Philadelphia Orchestra in 1937, joined the Curtis
facultv in 1943, and in 1944 found himself in the same infantry
regiment with one of his students.
Ferdinand Del Negro again taught from 1944 to 1946 when
Mr. Schoenbach returned from the war to The Philadelphia Orchestra
and to the faculty of The Curtis Institute of Music.
Sol Schoenbach left The Philadelphia Orchestra in 1957 to
become Executive Director of the Settlement Music School where he
continues with outstanding success.
In response to the many technical problems that bassoonists
have to cope with, Mr. Schoenbach introduced such additions to the
instrument as a high E key. coupHng of low E/F. low C#/D# trill
and other improvements. These could not have been accomplished
without the expertise of W. Hans Moennig. For his students. Sol
Schoenbach has written several bassoon works, a Solo Book, an
editing of Weber's Concerto in F. a transcription of RaveVs A Iborado
del Grazioso, 10 Vilvaldi Bassoon Concerti with piano
accompaniments realized by William Winstead. a Curtis graduate,
and a book of 20th Century Orchestra Studies.
Because of their training and talent, graduates in bassoon at the
Institute continue to fill chairs (in most instances, the first chair) of
orchestras around the world and to teach in universities and
conservatories throughout the United States.
Horn Anton Horner, a member of The Philadelphia Orchestra, taught horn
at The Curtis Institute of Music from 1924 to 1942. James Chambers,
one of his students, taught during World War II. In 1946, another of
his students. Mason Jones, succeeded Mr. Chambers and continues in
that position. During these years. Mr. Jones has also been principal
horn player of The Philadelphia Orchestra.
Both Mr. Chambers and Mr. Jones followed their celebrated
teacher's concept of tone production-sonorous, with emphasis on
legato phrasing. Mr. Horner was the first American player to take part
in the development of the silver double horn, which combines two
single horns into one instrument. Both Mr. Chambers and Mr. Jones
use the silver double horn.
Since 1967, Mason Jones has taught the brass ensemble. He has
also introduced horn ensemble sessions which are extremely
important because most classical horn writing is in four-part
harmony. He also collects and plays antique horns.
Graduates of the Curtis have dominated the Horn Section of
The Philadelphia Orchestra for decades, and their influence has been
felt in other major orchestras.
Trumpet Saul Caston set the high standard of musicianship for students of the
trumpet whom he taught at The Curtis Institute of Music from 1924
to 1942.
Mr. Caston shared with the men who followed him. namely.
Samuel Krauss ( 1947-68) and Gilbert Johnson ( 1969- ) the
distinction of occupying the first desk of the Trumpet Section of The
Philadelphia Orchestra.
Samuel Krauss learned from his Supplementary Piano lessons
with Martha Massena and William Harms. Josef Hofmann's idea of
practicing sustained notes and trills. He adapted them in his own
practice and teaching to good effect.
Gilbert Johnson stresses not only musicianship and technique,
but ensemble playing within the group of trumpet players.
The standard set by Mr. Caston has continued to be the
hallmark of the trumpet faculty. Curtis graduates in Trumpet are
distinguished members of fine orchestras and successful teachers.
Trombone since 1924. plaving the trombone and tuba has been taught by the
and Tuba following instructors: Gardell Simons (trombone) 1924-30: Paul Lotz
(trombone) 1925-26: Philip DonateHi (tuba) 1928-42: Charles
Gerhard (trombone) 1931-42: Charles Gusikoff (trombone and brass
ensemble) 1947-66: Henry Smith (trombone, tuba, and brass
ensemble) 1966-67: M. Dee Stewart (trombone) 1967- : Abe
Torchinsky (tuba) 1967-72: Glenn Dodson (trombone) 1969- : and
Paul Krzywicki (tuba) 1972-
The instruction on these instruments includes not only private
lessons, but a weekly class as well. Initiated by Mr. Stewart, the class
covers the entire standard orchestral literature and explores the
sizable listing of trombone ensemble literature. Compositions and
arrangements for trombone ensembles with pubhcation possibilities
are explored. Also studied is the orchestral literature for tenor tuba
and bass trumpet.
Important posts occupied by former Curtis students of the
trombone and the tuba range from solo instrumentalists with the La
Scala Opera Orchestra and The Columbia Symphony Orchestra
(Bogota) to first chairs of fine orchestras in this country and teaching
positions in a variety of educational institutions.
Percussion The highly respected and beloved Oscar Schwar taught the percussion
instruments at The Curtis Institute from 1925 until 1942. Members of
the audiences of The Philadelphia Orchestra do not forget the rapt
attention he gave the conductors and the joy he showed when he
played his tympani.
Like Mr. Schwar, his successors at The Curtis have been
principal percussionists of The Philadelphia Orchestra. He was
followed by Leonard Schulman (1947-50); David Grupp (1950-53);
Fred Hinger (1953-68). The current instructor, Gerald Carlyss, was
appointed in 1968. Like Mr. Schwar, he plays the tympani with
distinction.
In his teaching, Mr. Carlyss emphasizes musicianship and
playing musically as well as the techniques of teaching percussion
instruments. He gives careful attention to full utilization of the
particular sound of each specific instrument and to the blending of
that sound with ensembles or the entire orchestra.
Instruction in maintaining and repairing the numerous
percussion instruments used in the modern orchestra is also an
integral part of his teaching.
1 heory and During the first two years. Rosario Scalero taught not only
Composition composition and history of music but also theory. Angela Diller.
founder of the Diller-Quaile School and Method, taught piano as well
as theory for the first year. Renee Longy and Anne-Marie Soffray
came to teach solfege. Their years of teaching developed scores of
devoted and grateful students. Renee Longy taught until 1941;
Mr. Scalero retired in 1946; and Anne-Marie Soffray continued to
teach until her death in 1957.
By the third year, interest had grow n in the courses which
comprise Music Theory. They are theory fundamentals, counterpoint,
solfege. analysis (music from the ninth to the twentieth century), and
twentieth centurv music. So Mr. Scalero could concentrate on
teaching composition. Reginald Owen Morris was appointed to the
faculty for Music Theory. Mr. Morris had received his training at the
Roval College of Music. London and then taught harmon\ and
composition there. He was assisted in 1926-28 by Herbert Sumsion;
then by Ernest Zechiel in 1928-33. In 1939. Richard Stohr from
Vienna became instructor in theory with Constant Vauclain who had
just graduated from Curtis and showed consummate ability to teach
composition as well as theory. Mr. Vauclain remamed
on the faculty until 1963.
George Rochberg taught form and analysis at Curtis from 1948
to 1954 and then began to teach at the University of Pennsylvania.
Luigi Zaninelli (Curtis '55) taught theory for two years and was
succeeded bv Dr. Matthew Colucci who remained
al the Institute until 1971.
Rudolf Serkin increased the emphasis given to theorv by Mary
Bok. and selected Robert Levin, a student of Nadia Boulanger. to
assist in this endeavor ( 1968-73).
During the current year, the teachers of theory are; Edward
Aldwell. Ford Lallerstedt. David Loeb. and Annie Petit.
Gian Carlo Menotti taught composition from 1941 to 1955 and
continued alone after Mr. Scalero retired in 1946. He was succeeded
by Bohuslav Martinu. who remained one year.
Vittorio Giannini was instructor from 1956 to 1960. Illness
forced him to take a leave of absence for three years and Constant
Vauclain took over his work. Mr. Giannini remained only one year
after his return and resigned in 1964. Nicholas Flagello
taught until 1965.
Currently, compositon is taught by Myron Fink, who also
teaches at Hunter College.
As instructor of composition from 1924 to 1946, Rosario Scalero
exerted great influence. He had studied with Eusebius Mandyszewski,
a student of Johannes Brahms and had won the Distinguished
Academicians Award at the Royal Academy of St. Cecilia in Rome.
He was also a founder of the Societa de Quartetto. Demonstrating the
attributes Mrs. Bok wished in the faculty, he was a scholar, untiring as
a teacher, and demanding, yet respectful of individuality.
Many of his students have not sought the career of the
composer, but have become musicologists or distinguished teachers.
Among those who have composed, there is wide variety.
Samuel Barber taught composition and Madrigal Chorus at
Curtis from 1938 until 1946, and since then has concentrated on
composing songs, chamber music, symphonies, and operas. His
second opera. A nilwnv and Cleopatra, produced in 1966.
was his Opus 40.
Marc Blitzstein's The Cradle Will Rock was a success on
Broadway and was followed by Regina, an operatic version of Lillian
Hellman's The Little Foxes.
Edith Evans Braun both composed choral music and taught
Elements of Music at the Institute from 1944 to 1969.
Lukas Foss succeeded Schoenberg as professor of composition
at the University of California at Los Angeles and taught there for ten
years. As Conductor and Music Director of The Buflalo Phiharmonic
Orchestra, he has strongly supported composers of the avant-garde.
His own compositions are award-winning and in the contemporary
idiom.
Robert Kelly combines composing with teaching compositon at
the University of Illinois at Urbana-Champaign.
Gian Carlo Menotti is internationally known for his operas, his
librettos, and the unique productions of his own works.
George Rochberg's compositions have been widely played, and
at the University of Pennsylvania he was chairman of the Department
of Music (1960-68) and now continues as professor of music.
Nino Rota has become one of the leading composers for the
Italian and American cinemas.
Constant Vauclain is an associate professor in the Department
of Music at the University of Pennsylvania.
Two students of conducting have gone on to win acclaim as
composers. Leonard Bernstein studied solfege with Renee Longy
(Miquelle), orchestration with Randall Thompson, and conducting
with Fritz Reiner. Vincent Persichetti, who also studied conducting
with Fritz Reiner, has been chairman of the Composition Department
at the Juilliard School since 1963.
Mary Bok tried to provide talented teachers for talented
students. She worked to train not only performing artists but teachers
and composers as well. She believed the future of music obviously
required the study and teaching of composition.
Supplementary This exceptional course is required of all students excepting those who
Piano are accepted as piano majors. The purpose of this requirement is to
develop general musicianship in those who sing or play other
instruments.
During the first twenty years of the Institute, instructors
included Jeanne Behrend ( 1936-43). William Harms ( 193 1-40), and
Vera Resnikoff (1925-32 and 1938-40). all students of Josef Hofmann;
Eleanor Sokoloff (1936-49). a student of David Saperton: and
Vladimir Sokoloff (1938-46 and 1948-68) who studied accompanying
with Harry Kaufman. Mr. Sokoloff was asked especially to teach the
organ students.
The four instructors who now give this important course are
graduates of Curtis. Martha Halbwach Massena. a student of
Josef Hofmann. began to teach and to accompany even before her
graduation. Freda Pastor, a student of David Saperton and Harry
Kaufman, joined the faculty in 1937. Marian Zarzeczna has taught at
Curtis since 1962. She studied with Mieczyslaw Horszowski. Diedre
Irons, who studied with both Mr. Horszowski and Rudolf Serkin. has
been teaching supplementary piano since 1969.
Orchestra
Department
The student orchestra of The Curtis Institute of Music is well known
and its relationship with The Philadelphia Orchestra is now a half-
century old. Prior to the founding of the Institute. The Philadelphia
Orchestra drew its musicians from Europe, seldom from America.
Now, American orchestras are almost entirely American-trained.
Before 1930, American students went to Europe for study; now it is
not necessary. The Institute played a major role in this change.
In his monumental study of the growth of the symphony
orchestra in America, Orpheus in the New World. Philip Hart writes:
"Many elements have gone into the making of the Philadelphia
sound— the acoustics of the Academy of Music, the selection of superb
individual virtuosos (sic) and their blending into the ensemble, and a
tradition of instrumental quality fostered by a symbiotic relation
between the orchestra and The Curtis Institute of Music."
He elaborates on this theme— speaking of the harmony this
relationship has developed within The Philadelphia Orchestra itself.
"This cohesive esprit de corps" he writes, "has been fostered by the
fact that over sixty percent of them had studied with current or past
members of the orchestra, either privately or at The Curtis Institute of
Music, a circumstance contributing to the orchestra's artistic quality
and continuity.
From the first planning The Curtis Institute of Music, Mrs.
Bok had sought advice of Leopold Stokowski. Mary and Edward Bok
had been his friends at least eight of the ten years he had then been
conducting in Philadelphia. Some of the results of this friendship are
described in a letter to Cary Bok from Orville" Bullitt, written in 1967
when Mr. Bullitt was Chairman of the Board of Directors of The
Philadelphia Orchestra.
"Mr. Bok who always gave anonymously and was the
'unknown donor.' in 1916 pledged that he would make up the
annual deficit of the Orchestra each year until an Endowment
Fund was raised. This deficit ran as high as $54,000 a year.
"Mr. Stokowski once told me of his first meeting with your
Father. When Stokowski came to Philadelphia he was not
permitted to rehearse in the Academy, but had to crowd the whole
Orchestra into a small room. He felt that such conditions were
impossible and that he could never develop a great Orchestra. He
recalled that one night a stranger came to his dressing room after
the concert and said, i understand you have no good place for
rehearsals. My name is Edward Bok.' From then on your Father
was a tower of strength to Stokowski. He made arrangements that
the Academy would allow at least one rehearsal before a concert
and. finally, talked them around to letting all rehearsals be held
there. Mr. Bok then guaranteed the deficit, but told Mr. Stokowski
that that was not a permanent solution for the Orchestra's problem
and that we should have at least a $2,000,000 Endowment Fund,
the drive for which he proceeded to organize. "I have often heard
this account, but I suppose there are few now left who know about
it, but in Stokowski's words, 'we would not have had the great
Philadelphia Orchestra without Mr. Bok.' "
Leopold Stokowski's interest in youth and education were
naturally well received by Mary Bok. As first conductor of the student
orchestra, he chose Michael Press (1924-25) and Thaddeus Rich
(1925-26) to be associate conductors.
Teaching the various instruments were: Daniel Bonade
(clarinet); Saul Caston (trumpet): Philip Donatelli (tuba); William
Guetter(ba.ssoon): Anton Horner (horn); William Kincaid (flute):
Oscar Schwar (tympani and battery); Gardell Simons (trombone);
Marcel Tabuteau (oboe); and Anton Torello (bass). As a teaching
procedure. Mr. Stokowski asked these instructors to sit beside their
students and to participate in the rehearsals.
The Curtis Symphony Orchestra met for the first time on
November 14, 1924 with Leopold Stokowski and Michael Press
conducting. The orchestra gave concerts in Carnegie Hall. New York;
Symphony Hall. Boston; The Lyric Theatre. Baltimore: and
Constitution Hall. Washington, D. C. The young orchestra
participated in many coast-to-coast broadcasts with the Columbia and
National Broadcasting Company networks.
During 1927-28. .Arthur Rodzinski, assistant conductor of The
Philadelphia Orchestra, became conductor of The Curtis
Symphony Orchestra.
When Emil Mlynarski succeeded Mr. Rodzinski in 1929,
members of the orchestra took part in the productions of the
Philadelphia Grand Opera Company.
In 193 1. Mr. Mlynarski was succeeded by Fritz Reiner who
directed the orchestra until 1941. The brilliant work of Fritz Reiner
was most regretfully discontinued during the academic vear of
1942-43 when many students joined the Armed Services. This
interruption of the orchestra's development lasted five years.
During his ten years at the Institute. Fritz Reiner gave
instruction in conducting to students who have gone on to varied
careers. Only a few can be listed at this time because of the
incompleteness of our records:
Leonard Bernstein. Conductor Laureate of the New York
Philharmonic: the late Saul Caston. Assistant Conductor of The
Philadelphia Orchestra under Stokowski and later Conductor of the
Denver Symphony Orchestra: Lukas Foss, Music Advisor and
Conductor of the Kol Israel Orchestra and former Conductor of The
Buffalo Symphony Orchestra from 1962 to 1970: Boris Goldovsky.
President of the Goldovsky Opera Institute and commentator on the
Metropolitan Opera weekly broadcasts; Walter Hendl served as
Conductor of the Chicago and Dallas Symphony Orchestras and as
Director of the Eastman School of Music: Sylvan Levin, formcrlv
Staff" Conductor for The Mutual Broadcasting System, New York;
Joseph Levine. .Assistant Conductor of the Honolulu Symphonv
Orchestra and The Ballet Theatre and formerly Conductor of the
Omaha Symphony and Assistant Conductor of the Seattle
Symphony; Alfred Mann, Conductor of The Bach Choir in
Bethlehem, Pennsylvania: Seymour Lipkin, Music Director of the
New York City Center Jeffrey Ballet Company and Music Director of
the Huntington, Long Island Symphony; Howard Mitchell, former
Conductor of the National Symphony Orchestra, Washington, D. C;
Vincent Persichetti, Head of the Composition Department at the
Juilliard School of Music; Ezra Rachlin, formerly Chief Conductor of
the Queensland (Australia) Symphony Orchestra; Louis Vyner. Music
Director of the Reading and the Lancaster (Pennsylvania) Symphony
Orchestras; and Hugo Weisgall. with wide experience in conducting
in Europe and presently Associate for Education at the Lincoln
Center for the Performing Arts, New York.
Others who studied after the Reiner era and became conductors
are: Ling Tung graduated in violin and is now Conductor of The
Philharmonia Orchestra and Director of the Grand Teton Music
Festival, Jackson Hole, Wyoming. Thomas Schippers, Music Director
of the Cincinnati Symphony Orchestra and guest Conductor at the
Metropolitan Opera studied organ with Alexander McCurdy at the
Institute. Jose Serebrier was named Associate Conductor of the
American Symphony Orchestra when he was twenty-three years old
by Leopold Stokowski and was named Composer-in-Residence of the
Cleveland Orchestra by George Szell from 1968 to 1970.
At the end of the war years, Alexander Hilsburg who was the
Assistant Conductor of The Philadelphia Orchestra and its
concertmaster, was appointed Conductor of The Curtis Symphony
Orchestra. Mr. Hilsberg had been a student of Leopold Auer at the
St. Petersburg Conservatory from where he graduated in 1917. He
resigned his position in 1953 to become Music Director of The New
Orleans Philharmonic Symphony Orchestra. Many graduates of The
Curtis Institute played with Mr. Hilsberg in New Orleans and went on
to positions in major orchestras.
William Smith, Assistant Conductor of The Philadelphia
Orchestra, succeeded Mr. Hilsberg as Conductor of The Curtis
Symphony Orchestra.
One of Rudolf Serkin's first decisions in 1968 was to invite
Eugene Ormandy to conduct The Curtis Orchestra and to supervise
the training program. Mr. Ormandy's generous acceptance began a
brilliant new era in the history of The Curtis Orchestra. Mr. Ormandy
occasionally invites guest conductors to lead the orchestra. William
Smith rehearses the students in a weekly session.
On February 4. 1973. The Curtis Symphony played in the
Academy of Music with Maestro Ormandy conducting and the
Director of the Institute, Rudolf Serkin, as soloist. It was an historic
and triumphant occasion.
James Felton of The Evening Bulletin, February 5, 1973, wrote:
"The school fielded a group of young players to the size of a full
modern symphony orchestra. This was the unknown quantity. Just as
interesting was the fact that Eugene Ormandy, conductor of The
Philadelphia Orchestra, had put his prestige on the line to lead it It
was immediately clear that Ormandy has shaped an orchestra of
amazing professional playing. The group is nothing less than a junior-
league version of The Philadelphia Orchestra itself. The uncanny
balance of precision and passion that is Ormandy "s great gift, was
extended from his world-famous orchestra to the Curtis musicians."
David Effron joined the Opera Department in 1970. He leads
The Curtis Orchestra in reading and studying the standard repetoire
as well as conducting public concerts. Mr. Effron continues as
principal conductor of the Opera Department.
At present, the faculty for Orchestra is: Eugene Ormandy,
David Effron, and William Smith.
Graduates and Former Students Who Are Members of Major Orchestras for 1973-74 Season
Orcltestra Principals Total Number Orchestra Principals Total Number
Baltimore Symphony
Boston Symphony
The Buffalo Philharmonic
Chicago Symphony
Cincinnati Symphony
The Cleveland
The Dallas Symphony
Denver Symphony
Detroit Symphony
The Houston Symphony
Kansas City Phi
Los Angeles Philharmonic
Minnesota
Orchestra
3
8
Orchestra
9
14
Orchestra
1
2
Orchestra
3
7
Orchestra
2
7 and Conductor
Orchestra
6
13
Orchestra
6
8
Orchestra
2
5
Orchestra
1
6
Orchestra
6
Iharmonic
I
Orchestra
1
10
Orchestra
3
8 and Associate
Conductor
Montreal Symphony Orchestra
National Symphony Orchestra
New Jersey Symphony Orchestra
The New Orleans Philharmonic-
Symphony Orchestra
New York Philharmonic
The Philadelphia Orchestra
The Pittsburgh Symphony Orchestra
Rochester Philharmonic Orchestra
Saint Louis Symphony Orchestra
San Francisco Symphony Orchestra
Seattle Symphony Orchestra. Inc.
The Toronto Symphony Orchestra
Utah Symphony
Metropolitan Opera Orchestra
3
7
20
1
2
2
3
5
8
54
3
6
2
2
5
10
3
8
3
4
6
9
1
1
2
8
Chamber Equally important to faculty and students, and enjoyed by all.
Music Chamber Music has been a fundamental part of training and
education at The Curtis Institute of Music. From the first semester
until the week of graduation, the opportunities for students to
perform with others are limited only by time and floor space. Each
year these opportunities have been increased and more appreciated.
Ensemble playing of the quality expected at Curtis not only
requires mastery of the instrument by the student but also self-
mastery. It is a rigorous training. At the Institute, ensembles have
been developed for the strings, woodwinds, and the brasses. Within
the instrumental sections such as harp and trumpet, there are
ensembles wherever the literature provides interesting compositions.
Both instructors and students have arranged music
for their ensembles.
Louis Bailly (violist) directed the Chamber Music Department
from 1925 to 1941. Before coming to the Institute, he had been violist
for seven years in the Flonzaley Quartet. Grove's Dictionary of Music
and Musicians (Edition of 1942) says of the Flonzaley Quartet:
"Founded in 1902, this distinguished ensemble was recognized
everywhere for the finish, brilhance, and beauty of its tonal quality."
Mr. Bailly conveyed to his students the discipline and tradition of
which he had been a part. In 1928 he began a highly successful series
of concerts at the Philadelphia Museum of Art, which featured
premieres and works of unusual interest.
A discussion of ensemble playing cannot be complete without
reference to the art of accompanying. Harry Kaufman (1925-41)
taught accompanying and many of his students have achieved
positions of prominence. Ralph Berkowitz accompanist for
Piatigorsky; Joseph Levin accompanist for Szigetti; and Vladimir
Sokoloff for Zimbalist show that accompanying is a speciality of its
own and requires more than the usual skills demanded
for ensemble playing.
The String Ensemble
In 1926, four faculty members— Carl Flesch (first violin), Emanuel
Zetlin (second violin). Louis Bailly (viola), and Felix Salmond
(violoncello)— gave a series of concerts. They were called
The Curtis Quartet.
A student group was formed in 1927 called The Swastika
Quartet. It took the name of the residence of Mary and Edward Bok
in Merion, Pennsylvania where the first concerts were given. The
house had been called "Swastika" in the early years of the century by
their friend. Rudyard Kipling, in recollection of a drawing of that
ancient symbol made by Rudyard Kipling's father.
The Swastika Quartet made its New York debut in 1928 and
also gave concerts in Boston and Chicago. The members were Gama
Gilbert (first violin). Benjamin Sharlip (second vioUn). Max Aronoff
(viola), and Orlando Cole (violoncello). Gama Gilbert withdrew and
Jascha Brodsky became first violinist in 1932 when the name was
changed to The Curtis String Quartet. The Quartet performed in
London at the Silver Jubilee of King George V and
Queen Mary in 1935.
Jascha Brodsky, Max Aronoff, and Orlando Cole have
continued as members of The Curtis String Quartet. The second
vioUnist is now Yumi Ninomiya Scott.
William Primrose took Louis Bailly's place as coach
of Chamber Music in 1941.
Jascha Brodsky returned in 1955 to teach violin and to coach the
string ensembles. With the increasing interest in Chamber Music, this
faculty has been enlarged and now includes Jascha Brodsky, Isidore
Cohen, Felix Galimir, Mischa Schneider, Arnold Steinhardt,
and Michael Tree.
The Woodwind Ensemble
As first director of the Woodwind Ensemble, Marcel Tabuteau greatly
enjoyed this opportunity. As an artist and a master of his instrument,
his reputation was estabhshed. As a learned musician, a
disciplinarian, an inspiring teacher, and a wit, Tabuteau became an
abiding influence on Curtis students of woodwind instruments.
In 1950, The Philadelphia Woodwind Quintet was organized by
Burnett Atkinson (flute), John de Lancie (oboe), Anthony Gigliotti
(clarinet). Sol Schoenbach (bassoon), and Mason Jones (horn). Three
of the original members continue to play in the Quintet. Mr. Atkinson
was succeeded first by William Kincaid, then by Robert Cole. The
present flutist is Murray Panitz. Sol Schoenbach was succeeded by
Bernard Garfield. All the present members are principals in The
Philadelphia Orchestra. The recordings of The Philadelphia
Woodwind Quintet are collectors" items.
When Marcel Tabuteau retired in 1954, William Kincaid
directed the woodwind ensemble with his own usual success and
ebullience until his retirement in 1965.
John de Lancie became the third director. By continuing in
Curtis Hall the exciting concerts conducted by Tabuteau and Kincaid.
Mr. de Lancie now adds his own quality to a unique tradition. These
annual concerts mark a high point in each school year. At the
beginning of the academic year 1974-75. Sol Schoenbach was
appointed coach of the Woodwind Ensemble and shares the
responsibility for this ensemble with John de Lancie.
The Brass Ensemble
Teaching by example has no where been more evident
than among the brass players.
The Philadelphia Brass Ensemble is a well established musical
group. A large majority of its members have been and now are not
only members of the faculty and former students at The Curtis
Institute of Music but also members of The Philadelphia Orchestra.
The albums of recordings made by these artists widen the
appreciation and knowledge of their special contribution
to the world of music.
To record antiphonal music by Gabrielli. the virtuoso brass of
The Philadelphia, Cleveland, and Chicago orchestras were brought
together. Nineteen men assembled to make the historic recording
without a previous meeting, and some of them without previous
personal acquaintance. Of the nineteen, eight were trained at The
Curtis Institute (Glen Dodson. Arnold Jacobs. Gilbert Johnson,
Mason Jones, Seymour Rosenfeld, Henry Charles Smith, M. Dee
Stewart and Thomas Wohlwender); and six were members of the
Curtis faculty (Glen Dodson, Gilbert Johnson. Mason Jones, Henry
Charles Smith. M. Dee Stewart, and Abe Torchinsky). Of the faculty
members, five had been trained at Curtis.
Currently, Brass Chamber Music is taught by Gilbert Johnson
and Brass Ensemble by Mason Jones.
A endemic Academic studies were required from the very beginning because the
Studies philosophy behind the program at the Institute was to produce the
musician educated in the humanities as well as music.
The faculty was drawn from the University of Pennsylvania,
Bryn Mawr College. Princeton University and other
distinguished institutions.
Among those in the Academic Department in the first years
were: Lawrence Adler (Director); William Page Harbeson (English):
Gordon C. King (Comparative Literature): Elton Mayo (Psychology-
Methods of Work): and Jean Frois Wittman (French). Three
professors from the University of Pennsylvania also taught languages:
Jean B. Beck (French); Hermann J. Weigand (German); and
Domenico Vittorini (Italian). Dr. Vittorini. who first served on the
faculty from 1925 to 1928, is well remembered for his lectures on the
Italian Renaissance ( 1939-5 1 ). Both Samuel Arthur King and Minna
Saumelle taught diction. Dr. King's readings of the English classics
have become a lasting memory for those who were privileged
to hear him.
There were lectures on comparative arts by Huger Elliott of the
Metropolitan Museum of Art; Professors Edward B. Hill. Department
of Music at Harvard University; Frank J. Mather, Director of Fine
Arts at Princeton University; and Horace Alwynne, Department of
Music at Bryn Mawr College.
During the 1926-27 school year, William Lyon Phelps of Yale
University and Fiske Kimball, Director of the Philadelphia Museum
of Art, delivered a series of lectures. Wanda Landowska, the
distinguished harpsichordist, lectured on Style and Interpretation of
Old Music, analyzing the principles of the great masters of the
seventeenth and eighteenth centures. Other lecturers included: Dr.
Roy F. Nichols, later to win the Pulitzer Prize for history; Olin
Downes, music critic; and Olga Samaroff Stokowski, pianist, author,
and teacher at the Juilliard. Nadia Boulanger paid a memorable
week's visit and lectured on "The Little Organ Book of
Johann Sebastian Bach."
During the years 1939-41. great emphasis was put on academic
studies by Randall Thompson. Sir Thomas Beecham. the British
conductor, was one of the great lecturers during
Dr. Thompson's directorship.
Walter Hampden and Eva LeGalliene impressed students of
another decade by their readings of English classics.
Academic studies presently offered are: Languages and Diction
(French. German. Italian. Portuguese. Russian, and Spanish): English
Literature and English Composition; Latin-American Literature;
Russian Literature; and Ancient and Medieval History. An expansion
of this curriculum is being considered.
Tutoring is provided for the few students who have not
completed their secondary education before entering the Institute.
The tutors are Michael Barad. Iraj Kormi. and Phyllis Padow.
Mary Karen Aguilar. Ph.D. teaches English literature and
Composition; Stepha Gerassi teaches Russian literature and Ancient
and Medieval History. Teaching Languages and Diction are Maria
Rota Di Blasi. Esther de Bros. Therese Casadesus Rawson, Anna
Gregoretti. Thomas Grubb. and Peter J. Schoenbach. Ph.D. Dean
Schoenbach also gives a course in Twentieth Century
Latin-American Literature.
Honorary Degrees Awarded by The Curtis Institute of Music and Commencement Speakers
Honorary Doctorates
1934
1935
1936
1937
1938
1939
1940
1941
1942
1943
1944
1945
1946
1947
1948
1949
1950
1951
1952
1953
1954
1955
1956
Marcella Sembrich
Leopold Godowsky
Wiktor Lahunski
Frederick E. Hahn
Sidney Homer
Samuel Barber
Gian Carlo Menoiri
Eugene Ormandy
Rosario Scalero
habelle Vertgerova
Carlos Salzedo
John N. Burk
Rudolf Serkin
A lexander Hilsberg
A lexander
McCurdy, Jr.
William Kincaid
Marcel Tabuteau
Ivan Galamian
1957
1958
1959
1960
1961
1962
1963
1964
1965
1966
1967
1968
1969
1970
1971
1972
1973
1974
Ediih Evans Braun
Viiorrio Giannini
Constant V'auclain
Vladimir Sokoloff
Lea Luboshutz
Leo Rosenek
Mieczyslaw
Horszowski
Sol Schoenbach
Pablo Casals
Max Rudolf
M St is lav
Rostroprovich
Commencement Speakers
1934
1934
1935
1936
1937
1938
1939
1940
1941
1942
1943
1944
1945
1946
Thomas Sovereign
Gates
W lady si aw
Sokolowski
The Right Reverend
Joseph M.
Corrigan
Walter Damrosch
The Reverend
Joseph Fort
Newton
Frank A ydelotte
Curtis Bok
Samuel Barber
The Reverend
Frederick R.
Griffin
1947
1948 Olin Downes
1949 Harold E. Stassen
1950 Henry S. Drinker
1951 Owen J. Roberts
1952 Gerald F. Flood
1953 Virgil Thomson
1954 Catherine Drinker
Bowen
1 955 Carlelon Sprague
Smith
1956 Paul Henry Lang
1957 Nellie Lee Bok
1958 Curtis Bok
1959 Alfred Williams
J 960 Polycarp Kusch
1961 Loren C. Eiseley
1962 George P. Orr
1963 Samuel Barber
1964 I. M. Levitt
1965 Gian Carlo Menotli
1966 Robert W.
Neathery
1967 Donald Barnhouse
1968 Gian Carlo Menotti
1969 Richard F. Sterba,
M.D.
1970
1971 Frederick Dorian
1972 Willo von Moltke
1973 Sir Ernst Gomhich
1974 M.Todd Cooke
Awards, Competitions and Grants Won by Graduates
and Former Students of The Curtis Institute of Music
Artist Presentation
Society A ward
1949-50 Eloise Wells Polk
1951-52 Leslie Pamas
1953-54 liana Kombrink
Broadcast Music,
Inc. A ward
1 953 Michael Kassler
1 955 Michael Kassler
1 956 Jose Serebrier
1956 Michael Kassler
1 95 7 Michael Kassler
Chopin Scholarship A warded
by the Kosciuszko Foundation
1953 Harrie! Shirvan
The Coleman Chamber
Music Association A ward
1952 Richard C. Lesser
1 960 John Steele Killer
1973 Anthony La Marchina
The Composer In Performance
(New York Slate Council
on the Arts)
Lukas Foss
Ned Rorem
Jose' Serebrier
Concert Artists
Guild, Incorporated
1955 Stanley Babin
1957 Hyman Bress
1964 Winifred Del lore
1964 Jean Kraft
1966 Mertine Johns
1967 Jerome Rosen
1972 Marioara Trifan
1973 David Shifr in
1974 Sandra Miller
1974 Deborah Carter
Concours International
D 'Execution Musicale Geneve
(Geneva International Competition for Musi-
cal Performance)
James Loomis
Leslie Pamas
Paula Sylvester
John Koljonen
Mme Kvung Sook Koljonen
Richard Giangiulio
Janice Redick
1953
1957
1966
1967
1967
1968
1973
Concours Clara
Haskil, Lucerne
(Internationale Musikfestwochen Luzern)
(Only two awards given to date)
1973 Richard Goode
The Dallas News
G.B. Dealey A wards
1962 James Maiirer
1973 Eiigen Sarbu
1974 PiotrJanowski
The Ford Foundation
Opera Singers Fellowship
1962-64 Enrico Di Giuseppe
1962-64 Ilona Kombrink
Concert Artists Fellowship
1959
Jacob Lateiner
1959
Seymour Lipkin
1959
Leonard Rose
1962
Gary Graffman
1962
Jacob Lateiner
1962
Oscar Shiimsky
1962
Abbey Simon
1962
Claudeile Sorel
1969
Charles M. Castleman
1969
Richard Goode
1969
Lynn Ilarrctl
Composers Fellowship
1959 Lukas Foss
1962 Ned Rorem
1969 Gian Carlo Menolli
1969 Lukas Foss
Opera Commissions
7960 Ned Rorem
1960 LeeHoiby
1960 Hugo Weisgall
I960 Marc Blitzstein
I960 Ned Rorem
1960 Samuel Barber
Travel Award
Hugo Weisgall
Young Conductors Grant
1962 Robert La Marchina
1 964 Jose Serebrier
Recording— Publication Grant
1969-72 Ned Rorem
1969-72 Lukas Foss
1969-72 Hugo Weisgall
1969-72 Hugo Weisgall
1969-72 George Rochberg
1969-72 Lukas Foss
1969-72 George Rochberg
Fulhright Graduate
Study Scholarships
1949-50 Gary Graffman
David Hoy t Kimball
1950-51 Shirlee Emmons Baldwin
Lukas Foss
William Home
George Rochberg
Leo Smit
John Edmunds
Jesse Arthur Ceci
Ned Rorem
195 J -52 Grace Marie Carlino
Litkas Foss
James Rankin Loomis
1952-53 Lee Hoihv
Rudolph Kren^er
1954-55 Eleanor Lipkin
Marion Zarzeczna
Herbert Baumel
A una Moffo
1955-56 Laila J. Slorch
Eleanor Lipkin
Anna Bessel
Herbert Baumel
Suzanne Caum
Howard Mitchell
Charles Turner
1956-57 Anna Bessel
1957-58 George T. Walker
1958-59 Charles Joseph
1958-59 Barbara J. De Pasquale
H illiam J. De Pasquale
1960-61 Dorothy Reichenberger
Lukas Foss
Walter Hautzig
Ravmond J . Hemingway
Ann F. Heiligman
Howard Mitchell
1961-62 Halter Hautzig
Barry N. Hanner
Susan C. Willoughby
Howard Mitchell
1962-63 RhodaL Rhea
Jacques Singer
Lloyd C Geisler
1963-64 Donald E. Blakeslee
Dean //. Miller
Rhoda Rhea
John E. Wiseman
1964-65 Lynn H. Blakeslee
Susan C. Leider
William M. Capps
Rhoda Rhea
Cherry Rhodes
Judith Blegen
Barbara Haspel
Frank W. Ell
1965-i
36 Barbara Haspel
Cherry Rhodes
1966-67 Richard C Giangiulio
Helen J. Hall
Roger Drew Blackburn
David Mark Kadarauch
1967-68 Walter L. Hillsman
1968-1
69 Richard Michael Dolph
Walter L. Hillsman
David Mark Kadarauch
Richard E. Luby
Katherine E. Stone
Susan Winterbottoni
1969-70 Roger Drew Blackburn
David Mark Kadarauch
1970-71 Benjamin W. Harms
Claudia Maria Hoca
1971-
72 Sally O'Reilly Wirtel
1972-
73 Edward James Crafts
Emily C Rawlins
Sally O'Reilly Vlirtei
1973-
74 James Jones
Guggenheim Fellows
1945
Samuel Barber
1947
Samuel Barber
1949
Samuel Barber
1945
Lukas Foss
1959
Lukas Foss
1946
Gian Carlo Menotti
1947
Gian Carlo Menotti
1950
Leo Smit
1955
Hugo Weisgall
I960
Hugo Weisgall
1966
Hugo Weisgall
1956
George Rochberg
1966
George Rochberg
1957
Ned Rorem
1957
Gregory Tucker
1957
Jose Serebrier
(Western Hemisphere Fellow)
1958
Jose Serebrier
1958
Lee Hoiby
1958 Stanley Hollingsworth
1958 Vincent Persichetti
1968 Vincent Persichetti
1973 Vincent Persichetti
1969 John Edmunds
1969 George T. Walker
Hochschule Fiir Musik und
Darstellende Kunst in W ien
(Vienna International
Music Competition)
7967 Lynn Blakeslee
1970 David Kadarauch
Internationaler Musik wettbewerh
der Rundfunkanstalten der
Bundesrepuhlik Deutschland
(Munich International
Music Competition)
7956 JoelRyce
1957 Leslie Parnas
7966 Cherry Rhodes
1967 John West
1972 Patricia Stasis
International Piano
Festival and Competition
(University of Maryland)
797i Heide Rice
The Johann Sebastian Bach
International Competitions
1964 Michele Levin
1968 Claudia Maria Hoca
1968 Kiyoko Takeuti
The Kate Neal Kinley
Memorial Fellowship
1961-62 Roger Lee Drinkall
Kousseritzky Memorial Prize
1971 Thomas Michalak
Kurt Herbert Adler A ward
(Merola Opera Program)
7972 Calvin Simmons
The Leventritt
International Competition
1940 Sidney Foster
1943 Eugene Istomin
1949 Gary Graffman
1957 Anton Kuerti
1958 Arnold Steinhardt
Marian A nderson
Scholarships
1944 Louise Parker
1944 Goldie Theresa Green
1947 Helen Colbert
1949 Edith Evans
1951 JanGbur
1952 Shirlee Emnums
1969 Otoniel Gonzaga
1972 Earl Grandison
1972 Robert Calvert
Melchior Heldentenor
Foundation
(Only two awards given to date)
William Cochran
San Francisco
Opera A ud it ions
(Merola Opera Program)
1974 Laura Woods
Midland- Odessa
Symphony & Chorale, Inc.
National Young Artists
Competition
1 968 Bryan Epperson
Minna Kaufmann Rudd
Distinguished
Performance A wards
Syble Young
Ellen Phillips
1974 Andrea Powe
1974 Claudia Visca
National Institute
of Arts and Letters
1945 Gian Carlo Menotti
1946 Marc Blitzstein
1948 Vincent Persichetti
1954 Hugo Weisgall
1957 Lee Hoiby
1957 Lukas Foss
1962 George Rochberg
1968 Ned Rorem
1973 George Rochberg
Walter W. Saumburg
Foundation Winners
1931 Edwimi Eiistis
1936 Benjamin deLoache
1937 Jorge Bolet
1939 William Home
1939 Zadel Sokolovsky
1 940 A hbev Simon
1940 Harry Cvkman
1942 Annette Elkanova
1947 Abba Bogin
1948 Paul Olef sky
1948 Theodore Lettvin
1949 Lome Mil n roe
1952 Diana Steiner
1954 Jules Eskin
1 955 Ronald Leonard
1956 iVavne Connor
1956 Donald McCall
1957 Michael Grebanier
1958 Elaine Lee
1960 Joseph Silvers! ein
1974 Andre Michel Schub
Prix De Rome
(Rome Prize Fellowships)
1937 Samuel Barber
1950 George Rochberg
1952 Lukas Foss
1958 Stanley Hollingswonh
Pulitzer Prizes in Music
1935 Samuel Barber
1936 Samuel Barber
1950 Gian Carlo Menotti
1955 Gian Carlo Menotti
1958 Samuel Barber
1963 Samuel Barber
Concours Musical
International
Reine Elisabeth
(Queen Elisabeth International
Music Competition)
Grand Prix— Prix de la
Reine Fabiola
1959 Jaime Laredo
Prix Du Comte de Lanoit.
Medaille d' Argent
1959 Joseph Silverstein
I960 Lee Luvisi
1963 Arnold Sleinhardt
Prix De La Province de Brabant.
Medaille d'Argent
1964 Anion Kuerti
Prix De La Ville de Bruxelles.
Medaille d'Argent
1963 Charles Casileman
1967 Hidetaro Suzuki
Prix De Monsieur Desprechms.
Medaille de Bronze
1952 Theodore Lettvin
1959 Shmuel Dov Ashkenasi
1967 Nicolas Chumachenco
Medaille de Bronze
1971 Geoffrey Michaels
1963 Hidetaro Suzuki
1959 Gerard Kantarjian
Rachmaninoff Competition
(Only time held in the United States)
1948 Seymour Lipkin
The Rockefeller
Foundation Fellows
(Composer-m-Residence Grants)
1968 Jose Serebrier
1 969 Jose Serebrier
Tchaikovsky
International Competition
1962 Shmuel Ashkenasi
1 962 Leslie Parnas
1962 Susan Starr
The Van Clibum
International Quadrennial
Piano Competition
1962 Arthur Fennimore
1962 Arthur Fennimore
Commissioned Work Award
1962 Lee Hoiby
Commissioned Work
1969 Crist ina Ortiz
First Prize
1969 Crist ina Ortiz
Schumann Award
Young Artists A wards
(Worcester. Massachusetts)
1965 Varoujan Kodjian
Young Artists ' Competition
(The Flint Institute of Music
and St. Cecilia Societv)
1972-73 Stewart \ewbold
Young Concert A rtists
(New ^ork)
796/ Richard Goode
1961 Shmuel Ashkenasi
1962 Ruth Laredo
* At water Kent A ward
Agnes Davis
Carol Deis
Benjamin deLoache
Wilbur Evans
* Beams Prize
Columbia I niversity
1928 Samuel Barber
1931 Hugo Weisgall
1933 Sanuiel Barber
1936 Jeanne Behrend
1931 Berenice Robinson Morris
Itwo awards j
* Carl J. Lauber
Prize for Composition
1933 Roland J. Leich
Gian Carlo Menotti
* George Gershwin
Memorial A ward
George Rochberg
*Merriweather
Post Competition
1957 Susan Starr
1 958 Shmuel A shkenasi
1960 Lynn Harrell
1964 Young L'ck Kim
1965 Mari Tsumara
1969 Daniel Heifetz
*New York Music Critics
Circle A wards
1944 Leonard Bernstein
1946 Samuel Barber
1955 Gian Carlo Menotti
1958 Leo Smit
1961 Lukas Foss
1964 Samuel Barber
1964 Lukas Foss
* Discontinued— No longer giivn.
Graduates of The Curtis Institute of Music, 1924-1974
Adier. James— Piano— '73
Alarie. Pierrette (Simoneau)—
Voice— "45
Albinson, Patricia (Fawcett)—
Flute-'59
Alexander. Philip— Oboe— '66
Alexander. Richard— Organ— '68
Allen. Margaret (Young)— French
Horn-'59
Alligood. James— Tuba— '67
Almstead. Gordon— Voice— '49
Altenburg. Peggy (Albreeht)—
Voice-'50
Alter, Lawrence— Clarinet— '47
Altman. Benjamin— Violin— '42
Alvarez. Marina (Escalante)—
Harp— '66
Amansky. Selma (Caston)—
Voice— '34
Amtmann, Christof— Piano— '74
Angell. Cecilia (Francis)— Voice—
'72
Angelucci. Ernani— French
Horn-'36
Angelucci. Rhadames— Oboe— '36
Apgar. Lawrence— Organ— '34
Araujo. Manuel— Trumpet— '56
Arben. David— Violin— '54
Arian. Edward— Double Bass— '44
Arico. Fortunato— Cello— '61
Armitage. Charles— Organ—'68
Aronoff. Max— Viola & Chamber
Music— '34
Asen, Simon— Viola— '36
Ashby. John— Trombone— '72
Ashkenasi. Shmuel— Violin— '63
Atkinson, Burnett— Flute— '39
Austin. Arthur— Clarinet— '74
Avsharian. Charles— Violin-'64
Bacharach. Charles—
Composition— '39
Bailifl'. Jill (Reyes)-Harp-'5 1
Baker. Julius— Flute— '37
Baker. Walter-Organ-'38
Bampton. Rose (Pelletier)—
Voice— '34
Barber. Samuel— Composition—
'34
Barnes. Elizabeth (Keller)-
Piano— '61
Barozzi. Adine (Krauss)—
Chamber Music &
Violoncello— '35
Barron. Richard— Bassoon— '38
Baskin. Theodore— Oboe— '73
Basler. Kathleen— Voice— '63
Batchelder. Wilfred*-Double
Bass-'41
Batkin. Lilian (Freneut)— Piano-
'34
Baum. Carol— Harp— '53
Bauman. Perry— Oboe— '42
Baumel. Herbert— Violin— '42
Beamer. Irene— Voice— '34
Beard. Henry— Organ— '40
Beck. Barbara— Violin— '68
Behrend. Jeanne (Mac Manus)—
Piano & Composition— '34
Benfield. Dorothy (Koenig)—
Voice— '43
Bengtsson. Erling— Violoncello—
'50
Benner. Jules— Tympani and
Percussion— '49
Benner. Raymond— Double
Bass-'50
Bennett. Elizabeth
(Clendenning)— Violin— '58
Bennett. Harold-Flute-'36
Berg. Jacob— Flute— '53
Bergey. Milton*- Flute— '57
Bergstrom, Paul-Orchestra-'38
Berkey. Nadia (Marks)-Harp—
'57
Berkowitz. Paul— Piano~'72
Berkowitz. Ralph-
Accompany ing— '35
Berman. Grace (Bramson)—
Piano-'35
Bernstein. Leonard—
Conducting— '41
Bernstein. Norman— Trombone—
•55
Berry, Sanford— Bassoon— '5 1
Berry. Weldon— Clarinet— '69
Bertolami. Viviane(Kirkwood)—
Violin-'47
Berv. Harry— French Horn— '35
Berv. Jack— French Horn— '35
Bessel. Annamaria— Voice— '55
Bettelli. Aldo-Clarinel-'59
Betts. Kendall-French Horn-'69
Bickford. Anne-Viola-'48
Bielski. Noah*-Violin-'40
Bigham. James— Organ— "68
Binz. Ralph— Trombone— '35
Bitter. John— Conducting— '35
Black. Margery (Samarotto)—
French Horn— '56
Black. William-Double Bass-'56
Blackburn. Roger— Trumpet— '69
Blakeslee. Donald— Tuba— '63
Blakeslee, Lynn (Calleo)—
Violin— '64
Blegen. Barbara (Brown)—
Piano— '65
Blegen. Judith (Singher)— Voice—
'64
Bloom. James*— Violin— "34
Bloom. Robert— Oboe— '35
Blum. Eleanor (Sokoloff)-
Piano-'38
Blumfield. Coleman— Piano— '56
Bobbett. Valerie (Gardner)—
Viohn-'70
Bodanya. Natalie (Gorman)—
Voice— '34
Bogin. Abba— Piano— '49
Bolet. Jorge— Piano— '34
Bolotine. Leonid— Violin— '35
Bolluch. Morris-Trumpet— "42
Bomar. Ann— Voice— '47
Bonnevie. Robert— French
Hom-'60
Boodley. Pamela— Voice-'68
Bossart. Eugene—
Accompanying— '4 1
Boswell. Guv*-Trombone— '35
Bottalico. Rosemarie (Orner)—
Harp-'63
Bouchard. Rene— Voice— '50
Bouchett. Richard— Organ— '61
Bouleyn. Kathryn— Opera— '74
Bourns. Sue (McCall)— Bassoon—
■61
Bowling. Glen— Trumpet— '63
Bowman, Carl— Bassoon— '35 and
Conducting— '39
Bracken. Nancy— Violin— '73
Bradley. Elizabeth (Dixon)—
Voice— '45
Brady, Alice (Spears)— Voice— '66
Bram. Thiiring— Conducting— '73
Brandon. Theodora— Voice— '49
Brant. Blanche(Sharon)— Piano—
'35
Braun. William— Organ— '67
Braverman. Bella (Bookbinder)—
Piano-'35
Braverman, Gabriel— Viola— '34
Brennand, Thomas— Double
Bass— '66
Bress. Hyman— Violin— '5 1
Brewster. Stevens— Double Bass—
'58
Briggs, John— Music Criticism—
'39
Brill, Toba(Winer)-Piano-'49
Briselli, Iso— Violin— '34
Brodsky. Jascha— Violin &
Chamber Music— '34
Broer. Kathleen (Hamill)-
Violin-'48
Brown. Alfred-Viola-'52
Brown. David— Piano— '67
Composition— '73
Brown. George— Viola— '39
Brown. Peter— Organ— '70
Brunner. Miriam— Composition—
"39
Brusilow, Nathan— Clarinel-"4 1
Bryson. Tim— Tuba— "71
Buchman. Carl— Conductina- "37
Buck. Dorolhs (Almslead)-
Voice-"50 '
Buck. Margen (Latiolais)—
Double Bass-"52
Buck. Ralph-Trumpel-'60
Budde. Marie*-Opera-"34
Burg. Abe*— Violin— "34
Burgess. Gary— Opera-'74
Burgess. Marv— Voice— "63
Burke. Elizabeth (Roth)-Harp-
•68
Burkhart. John-Trombone-"36
Burns. William-Double Bass-
•63
Burton. Blanche (L>ies)-Piano-
•53
Cadek. Jerrie ( Lucktenberg)-
Violin--52
Caldwell. James— Oboe— •61
Calhoun. Nancy (Heuermann)-
Voice— "56
Call. Majorie— Harp— '37
Calleo. Patrick— Voice— '67
Campbell. Carol ( Vanderveer)—
Voice-'49
Campione. Carmine— Clarinet—
"60
Canale. Orlando— Composition—
"46
Canthelm. Ronald-Double
Bass-'73
Cantwell. Gregory —Voice— "73
Opera— "74
Caplan. Florence (London)—
Piano— '41
Capps. William— French Horn—
•64
Cardwell. Janet— French Horn—
'59
Carh.irt. Ruth (Putnam)-Voice-
'35
Carlino. Grace (Mitchell)—
Voice-^50
Carmen. Owen— Violoncello— "74
Carol. Norman— Violin— ^47
Carter. Daniel— French Horn— "66
Carter. Deborah (Smith)— Flute—
•69
Carter. James— Viola— ^72
Caruso. Francesco—
Composition— '43
Carw ithen. Robert— Organ— '58
Castagnetta. Grace-Piano— "35
Castleman. Charles-Violin— "63
Gaston. Saul*— Conducting-'35
Cato. Robert-Organ -^34
Cauler. Ehvood-French Horn—
'39
Caum. Suzanne (VVilkie)— Voice—
'55
Cerone. David Violin— '62
Cerulli. Robert-Double Bass-
'61
Chalifoux. .Alice (Rideout)—
Harp-'34
Chalifoux. Jeanne (Goddin)—
Harp-'52
Chambers. James— French
Horn-'42
Chapman. Keith— Organ-'68
Chapman. Lucy— Violin— '72
Chapo. Eliot— Violin— '67
Chappell. Jeffrey— Piano— '74
Chappell. True(Sackrison)—
Violoncello— '41
Chenette. Stephen-Trumpet-'56
Cherkasskv. Shura— Piano— '35
Cherr). Kalman— Percussion— '58
Chieffo. Eugene-Oboe— '71
Childs. Mark-Viola-'69
Christman. Corkey— Harp— '62
Chumachenco. Nicholas—
Violin— '67
Churchill. Wainwright. III*-
Composition— '45
Ciccarelli. .Anthonv-Clarinet-
'49
Clauser. Donald-Viola— '67
Clearfield. El\ in— Clarinet— '37
Clough. Evans— Voice— '68
Cochran. John— Voice— '68
Codd. Margaret (Goldovsky)—
Voice— '34
Coffey. John-Trombone-'45
Cohen. Frances (Woodhams)-
Harp-'68
Cohen. Thelma(De Scheurer)-
Piano-'40
Coker. Donald- Voice-'4 1
Cole. David-Violoncello-'67
Cole. Frank* — Bassoon-'47
Cole. Howard— Trombone— "40
Cole. Orlando- Violoncello &
Chamber Music— '34
Cole. Robert-Flute-'49
CoUis. James— Clarinet— '35
Colvig, David-Flute-'48
Conant. Katherine*-
Violoncello— '34
Conner. Wayne— Voice— '57
Cook. Randall-Oboe-'74
Cooper. Allen— Composition-'6 1
Cooper. Barbara (Moscow)—
Voice— '50
Cooper. Jack— Trombone— "57
Cooper. Richard— Trumpet— '68
Cornman. Robert— Piano— '41
Comwell. Susan (Kiefner)—
Piano-'70
Cossum. Sarah— Viola— '52
Costello. Marihn
(Dannenbaum)— Harp— ^49
Crafts. Edward— Voice— '68
Craighead. David— Organ-'46
Cresswell. Rowland*— Chamber
Music- "35
Crockett. John— Bassoon— "6 1
Crosbv. Carole (Wickless)—
Harp-'64
Csonka. Margarita
(Montanaro)— Harp— '63
Cummins. Richard— Organ— '61
Cusimano. Jesse— Violin— '49
Cuyugan. Fides (.Asensio)-
Voice— '55
Dabrowski. Waldemar—
Conducting— "40
.Accompanying- '41
Dallev. John— Violin— '57
D'.Amico. Nicholas— Tympani &
Percussion— '53
Daniels. Charlotte (Harris)—
Voice— '36
Daniels. David— Voice-'50
Dansereau. Aline (Corradi)—
Voice-'50
Darden. Charles— Conducting—
'73
Darian. Anita— Voice— '49
Darne. Richard— Organ— '64
Davenport. Mary— Voice— '43
Davies. Marion— Violoncello— "45
Davis. Agnes*— Voice-"34
Davis. Miles— Double Bass-"74
Davis. Robert-Trombone-"5 1
Dean. Kalhryn— Voice— '35
Dean. Ruth (CIark)-Harp-'45
de Blasiis. Virginia— Violin— "35
de Bros. Philippe-Opera-'74
Decker. George— Organ— "64
De Granda. ."Mvaro- Violin— ^60
De Haven. James— Voice— '65
Deis, Jean— Voice— '55
de Lancie. John— Oboe— '40
de Loache. Benjamin— Voice— '34
de Long. Alfred— Voice— '35
del Rosario. Nena (Villaneuva)—
Piano— '56
de Machula. Tibor— Violoncello—
'35
Demarest. Charles—
Composition— '34
de Palma. .Attillio-French
Horn-"35
de Pasquale. Francis*—
Violoncello— "46
de Pasquale. Joseph— Viola— ^42
de Sanzewitch. Tatiana— Piano—
•35
Dew. Robert-Violin-'55
Diamond. Paceli ( Bloom)-
Voice-^34
Di Bonaventura. .Anthony—
Piano-^53
Di Fazio. Louis— Flute— '50
Dinkin. Alvin*-Viola-'36
Disslv. Esther (Carter)-Voice—
'44"
Dodson. Glenn— Trombone-'54
Doleonos. Joan (Gross)— Piano—
'64
Dolph. Richard— French Horn—
'64
Donato. Vincent-Voice-'5 1
Doster. Lanny-Trumpet-'68
Drinkall. Roger-Violoncello-'68
Druian. Rafael-Violin— '42
Duchow. Marvin— Composition-
'39
Duer. Ir\ in-Tympani &
Percussion— "42
Duff. Cloyd— Tympani &
Percussion— "38
Dupre. .Anna (Griffith )-T\mpani
& Percussion— '60
Earnest. Christopher-French
Horn-'53
Eastman. Julius— Composition—
•63
Eby. Daniel— Voice— "66
Edelman, Douglas— Trombone—
•61
Edwards. Artemus— Bassoon— "60
Edwards. Harriet (Crossland)—
Flute-"52
Edwards, Stephen— Double
Bass-"71
Eger. Joseph-French Horn— "43
Eichen, Bernie— Violin-"48
Eicher. Bruce— Organ— '58
Eiermann. Oscar-
Accompany ing— '39
Eifert, Otto— Bassoon-'52
Elbeck, Lance— Violin— '70
Elkanova, Annette (Block)—
Piano— '41
Ell. Frank-Clarinet-"63
Elliott. Barbara ( Bailev)-Piano-
•43
Ellis. Robert-Organ-'48
Elster. Reinhardt— Harp-'37
Emde. James-Tuba-'40
Emery. Kenneth-Flute-'43
Eney, Cynthia (Hoebel)-Organ—
•59
Eney. Gilbert— Double Bass— '35
Englander. Lester— Voice— "38
Ensher. Phyllis (Peters)— Harp—
"57
EppinolT. Jacqueline (Bassis)—
Violoncello— '5 1
Escalona. Rosita (Nin)-Piano—
•34
Eto, Reiko— Accompany ing -"59
Eto. Toshiya-Violin— "52
Eustis. Edwina(Dick)-Opera&
Voice— "35
Evans. Edith-Voice-'48
Evans. Edith (Braun)—
Composition— "34
Evans, Wilbur— Voice— "35
Ewan, Vernon— Tympani &
Percussion— "62
Fairweather. James— Trumpet—
'37
Falcone, Mary Lou— Voice— '66
Falkove. Albert-Viola— '41
Fawcett. Herbert- Bassoon— '59
Fawcett, James-Viola— "58
Feinglass. Joel— Bassoon— '55
Fennimore. Arthur— Piano— "61
Fera. Dominick— Clarinet— "52
Ferguson. Paull— Viola— "35
Ficaro. Beatrice— Voice— "47
Field, Jane (Kitt)-Viola-"64
Fields, Eleanor (Holden)—
Piano-"35
Finckel. Christopher-
Violoncello— "71
Finn. Caesar*— Composition— "35
Fintz, Jeanne— Harp— "5 1
Fischer, Joseph— Trumpet— '40
Fisher, Susan (Clickner)— Voice—
•59
Fisher, Zoe (Schafl'er)— French
Horn-^47
Fleisher, Martin— Oboe— "39
Flissler, Eileen— Piano— "43
Flynn, Martha (von Llffel)—
Voice— "43
Follingstad, Karen (Fagen)—
Piano-'73
Foss, Lukas— Composition &
Conducting— "40 Piano— '42
Foster. Sidney-Piano-'38
Francis, James— Viola— '72
Frank. Bernard-
Accompany ing— '35
Frank, Joseph-Opera-"74
Frank. Philip-Violin— '34
Frank. Sherman— Piano— "48
Franklin. Roberta (Mittleman)—
Harp-"58
Frantz. Florence (Snyder)— Piano
& Accompanying— "34
Frantz, Leonard*— Viola— '58
Eraser, Florence*— Piano— "34
Frazier, Elin— Trumpet— '64
Frengut, Leon*— Viola— ^35
Frerichs, David*— Tympani &
Percussion— ^62
Fries. Robert— French Horn— "57
Frisina, David— Violin— '36
Fulton. Thomas— Conducting—
'73
Garabedian, Paul-
Composition— '45
Garcia-Renart. Marta (de
Tillet)-Piano-'64
Garlichs. Ann-Violin-"57
Garstick, George— Trombone—
"40
Gaudette, John— Bassoon— "69
Gay. Janet ( Peterson)— Clarinet—
"68
Gbur. Jan— Voice— "50
Gee, Harry— Clarinet— "49
Gegenheimer, Claribel
(Thompson)— Organ— "38
Geisler, Lloyd-Trumpet-"35
Geist. Judy— Viola— "73
Gennusa, Ignatius— Clarinet— "45
Genovese, Alfred— Oboe— '53
Genovese, John*— Clarinet— "50
Gerhart, Pamela (Gearhart)—
Violin-'55
Gering, Lois (Jungas)— Organ—
"57
Gershman, Paul— Violin— '34
Geshicter, Cecille (Sharlip)—
Piano— "36
Giacobbe, Stellario*— Viola— "35
Giangiulio, Richard— Trumpet—
'64
Gibson, William— Trombone— '39
Gigliotti. Anthony— Clarinet— "47
Gilbert. Charles— English Horn—
"40
Gilbert. Gama*— Violin &
Chamber Music— "34
Gillam. Jeanne (Donato)—
Viola-"51
Gindin, Samuel-French Horn—
'68
Givens, John— Bassoon— '57
Glaze, Martha Lee— French
Horn-'73
Goberman. Max*— Conducting—
"41
Gobrecht, Edward— Bassoon— "50
Gold, Barbara -Piano— '74
Gold, Dale-Double Bass-'67
Goldberg, Philip*-Viola-"41
Goldovsky, Boris-Conducting—
"34
Goldstein. Nathan— Violin-"47
Gomberg. Celia (Newman)-
Violin-"34
Gomberg. Harold— Oboe— "35
Gomberg. Leo*— Trumpet— "40
Gomberg. Ralph— Oboe-"41
Gomberg, Robert— Violin— '35
Goode. Richard-Piano-'64
Goodman. Richard-Piano— '36
Gordon. Hershel-Violoncello—
'50
Gordon, Ruth (Brassil)-Voice—
"34
Gorodetzer. Harry— Violoncello-
"38
Gorodetzer. Samuel— Double
Bass-'47
Gottlieb. Victor*— Violoncello—
'35
Gowen. Lloyd— Flute— "54
GrafTman. Gary— Piano— "46
Gralnick. Isidore*- Violin— "39
Granger. Walter— Voice-'72
Gratch. Olga(Corelli)-
Composition— "46
Gravagno. Emilio— Double
Bass-'58
Gray. David— French Horn— "64
Gray. John— Violoncello— "35
Grebanier. Michael—
Violoncello— "58
Green. Goldie (Coleman)—
Voice-"50
Greenberg, Jules— Tympani &
Percussion— "51
Gregori, Robert— Voice— '57
Griffin, Charles— Viola— '67
GrifRng, Laura (Churchman)—
Violin-'35
Griszmer, Ruth (Pfaff)-Violin-
"40
Grobani. Benjamin- Voice— '35
Grooters. Robert-Voice— "40
Grossman. Arthur— Bassoon— "55
Gruenebaum. Fred— Oboe— "62
Gruhn. Esther— Violoncello— "43
Guarrera. Frank— Voice— '49
Hagge, Howard— Trumpet— '67
Halbwachs, Martha (Massena)—
Piano-"34
Hale, Leonard*-French Horn-
"50
Hall, David-French Horn-"4l
Hall, Helen-Violin &
Accompanying— "34
Hall, Nancy (Chumachenko)—
Violoncello- "66
Hamel, Doris (Eicher)-Organ-
"57
Manner. Barry— Voice— "60
Hanson. Maricarol-
Composition-'46
Hanson. Suzanne (Poole)—
Voice-"50
Harada. Hiroyuki— Piano— "74
Harbert. James-Trumpel-"54
Harbert. Nancy (Ellsworth)—
Violin-"49
Harbold. Lynn— Tympani&
Percussion— '59
Harmaala, John-Trumpet— '36
Harms. Benjamin-Tympani &
Percussion-'66
Harms. William— Piano— "34
Haroutounian. William— Violin-
'63
Harphman, George—
Violoncello— '69
Harris, Katharine (van
Hogendorf")— Voice— '42
Harris. Robert— Voice— '49
Harrop. Estelle (Cremers)—
Voice-'48
Hartenberger. John— Tympani &
Percussion— "66
Hartman. Robert— Clarinet— "35
Haspel. Barbara (Ciolli)-Voice—
"64
Hautzig. Waller~Piano-'43
Hayes. Patsy (Wallers)-
Bassoon-"54
Head. Marion ( Brodsky)—
Violm-"36
Headman. Melvin* -Trumpet—
"35
Healy. Daniel-Voice-'34
Heaton. Nancy (Simon)— Violin-
"52
Heifetz. Daniel -Violin-'71
Heiligman. Ann (Saslav)—
Piano-'59
Heinbaugh. Marshall— Voice-'48
Heintz, Frank-Bassoon— "67
Heller. Alexander-Bassoon— "74
Helmer. Eugene—
Accompanving-"35
Hemingwav. Raymond— Orean—
"58 ' ■
Hendl. Walter-Conducting-"41
Hennagin. John-Composition—
'63
Hester. Byron— Flute-'52
Hillsman. Walter— Organ-'64
Hines. Ruth (Gardner)-Organ-
'50
Hinshaw. Paul-Voice— "54
Hirsh. Norma ( Barsky)-Voice—
"69
Hoca. Claudia— Piano-"70
Hockstad. Paul-Flute-'47
Hodge, Dorothy (Polk)-Viohn-
'35
Hodge. Muriel (Sabina)— Piano <&
Composition— '35
Hoelscher. Ulf-Violin-'66
Hoffman. Elaine (Watts)—
Tympani & Percussion-'54
Hoiby. Lee— Composition-"52
Hois. Charles— Trumpet— "50
Holdeman. Charles— Bassoon—
'68
Holden. Thomas— French Horn—
'46
Holesovsky. James— Violoncello-
'66
HoUier. Stanley -Composition—
"53
Hookins. Ardelle ( Bowers)—
Flute-"34
Hooper, Ann Marie (Harrison)-
Voice-'59
Hooton, Cynthia (Montoolh)—
Violin-'61
Horle, Henriette (Wiley)— Voice-
'34
Horn, William-Piano-'70
Hottman, David— Voice— '61
Hough. James— Bassoon-'70
Howatt. Patricia (Barham)-
Voice— '65
Howland. Anne(Knudsen)—
Voice-'48
Hreachmack. John*-Flute— '35
Hull. Joan ( Lippincott)— Organ-
'60
Hultgren. Donald— Voice- "41
Humeston. Edward—
Violoncello— "64
Hustis. Gregory— French Horn-
"72
Hyatt. Mary Sue— Voice-"73
Hvun. Hai-eun (Cha)-Violin-
■"64
Ibach. Isabel -Harp-"36
Ilku. Julius— Double Bass— "54
llvonen, Jouko— Violin— '5 1
Ippolito. Carmela*-Violin "34
Irons, Diedre(Gold)-Piano "68
Irons, Florence (Brown)- Voice—
"35
Ishikawa, Michi (Tashjian)—
Piano-"6l
Istomin, Eugene— Piano— "45
Jacobs. Arnold— Tuba— "36
Jacobs. Evelyn— Viola— '65
Jaffe. Charles-Violin-'35
Jaimes. Judil(de Abend)—
Piano-'59
Janowski. Piotr— Violin-'74
Janson, Glenn— French Horn—
'61
Janssen. Roger-Trombone— '65
Jepson, Helen (Dellera)— Voice—
'34
Jernigan. Melvyn-Trombone-
'59
Jirak, Josephine*— Voice— '35
Joanou, Amalia (Canzoneri)—
Violin-'72
Johns, Julia (Flier)— Voice~'46
Johnson. Britton— Flute— '40
Johnson. Kay— Violin— '73
Johnson. Merton— French Horn-
'52
Johnson. Sune-French Horn-
'34
Johnston, Mary— Voice— '45
Jonas, Linda— Flute- '67
Jones, Jennifer— Voice— '73
Joseph. Charles— Violin— '46
Judd. Patricia (Stone)— Voice-'54
Just, Linda (Montoya)— Violin —
'61
Kadarauch, David— Violoncello—
'68
Kahan, Jose— Piano— '54
Kahn, Gordon— Viola— '35
Kakei. Ryoko— Violin— '67
Kalam. Tonu— Conducting— '73
Kang. Dong-Suk-Violin-"74
Kanlarjian. Cierard-Violin-"58
Kanter. Richard-Oboe-'57
Kaplan. Sol— Piano&
Composition— '38
Conducting— '39
Karayanis. Plato-Voice-'56
Kasen. Andrea (Grunberger)—
Voice-'61
Kashy. Jean-Louis-Flute '60
Kasow, Norman — Bassoon— '49
Kaslle, Leonard— Composition—
'50
Kaufman. Zelik*— Violin— '40
Keene. James— Violin— '61
Kelly. John— Trombone— '68
Kelly, Robert— Composition— '42
Kemper, Steven- Piano— "74
Kendall, Gary— Opera— '74
Kendrick, Virginia (Clarke)—
Voice— '35
Kennedy, Alice (Mendelssohn)—
French Horn— '69
Kennedy, Thomas— Violin-'63
Kent, Douglas— French Horn-
'49
Kern, Peter-Flute-'62
Kessissoglu, Vivienne (Bono)—
Piano-'47
Kelchum, Janet ( Lawrence)—
Flute-"72
Khursedji. Hilla-Piano-"72
Kilburn. Nicholas-Bassoon-'55
Kim. Dukju (Chang)-Piano-'67
Kim, Young Uck-Violin-'70
Kimball, David— Composition—
'45
Kindt, Allen-Piano-"6 1
King, James-Clarinet-'4 1
King, Jasper— Voice— '58
Kishikawa. Ayako— Violin— '53
Kitt. Lome— Clarinet -'63
Kleinman. Marlene ( Malas)-
Voice-'60
Klenz. WiUiam-Orche.stra-'38
Klinger. Carol (Brusilow)-
Flule-"64
Kodjian. Mihran-Violin-'63
Kodjian. Varoujan -Violin— '57
Koester. Robert-Trombone-'70
Koljonen. John— Clarinet-'66
Koljonen. Venda (Weber)—
Flule-"72
Kombrink. llona-Voice-"55
Korn. Michael-Organ-'69
Koucky, Marilyn ( Meyer)-
Viola-"57
Krachmalnick, Jacob-Violin-
•41
Kraemer. Emma Jean (Bergson)—
Voice-'50
Kralik, Isabelle-Violin-'42
Krane. David-Composition— '74
Krauss, Samuel-Trumpet-'35
Krebill. Dorothy (Karayanis)-
Voice-"54
Krell.John-Flute-42
Kremer, Rudolf-Organ-'5 1
Kressman. Ronald-Organ— '64
Kreuger. Fritz*— Voice-'38
Kreuger. Raymond— French
Horn-"74
Krewson. Helen— Voice— "68
Krinsky. Yvonne (Druian)—
Piano-'34
Krisel. Karen— Harp— "70
Kuehne, Marguerite (Fischer)—
Violin-'42
Kuerti. Anton-Piano-'58
Laman, Judy (Umbrico)-Harp—
•56
Lambert. Robert-Trombone-'42
Lampert. Sheldon— Violin— ^61
Laredo, Jaime— Violin— ^59
Larson. Edna (Harkness)—
Piano-^41
La Salandra. John— Bassoon— ^63
Lateiner, Isidor— Violin— '47
Lateiner. Jacob— Piano-^49
Laughton. Stuart— Trumpet-^74
Lavrans, Elayne(Chanslor)—
Composition— '38
Lawrence. Mark— Trombone-^72
Lee, Allison— Piano— '65
Lee, Elaine (Richey)-Violin-^58
Lee, Kyung Sook (Koljonen)—
Piano— '67
Lehnhoff, Sheppard-Viola— "35
Leich, Roland— Composition— '34
Leider, Susan— Voice— '64
Leon. Sonia (Klein)-Voice-^49
Leonard. Ronald-Violoncello-
•55
Leone, Frank— Composition— "63
Lerch, Louise*— Voice— ^35
Leshem. Gilda (Sadoff)-Voice-
•50
Lesser, Richard— Clarinet— '59
Lester, Leon— Clarinet— '34
Letlvin. Theodore-Piano— ^49
Levin. Michele (Katz)— Piano-
•63
Composition— '65
Levin. Sylvan— Piano,
Accompanying &
Conducting— "34
Levine, David— Piano— "73
Levine, Joseph— Piano— "35
Conducting— '37
Levy, Amnon- Violin— "55
Lewis, Eleanor— Voice— '35
Lewis. Orville— Composition— '63
Lewis, Rebecca (Wagner)—
Harp-"38
Lewis, Sarah*— Accompanying—
'34
Lifschey. Marc— Oboe— "48
Light, Jay— Oboe— '63
Lilly, Margaret (Richards)—
Voice— '42
Lima, Beatriz— Piano— '63
Lipkin, Eleanor (Schwartz)-
Piano-^51
Lipkin, Seymour— Piano— '36
Lloyd, David— Voice-"43
Logsdon, Gary— Viola— "69
London, James— French Horn—
"58
Loomis, James— Voice— '5 1
Lottridge, Richard— Bassoon— '55
Love. Esther (Polvogt)-Piano-
'35
Low. Roger— Violoncello— "74
Lowell. Eugene— Voice— "36
Luby, Richard— Violin— '67
Luca, Sergiu— Violin— '67
Luck. Andrew*— Bassoon-'35
Lurie. Mitchell-Clarinet-'42
Luskin, Leo-Accompanying-'41
Luvisi, Lee-Piano— '57
Mabry, Raymond-Organ-'62
MacCartney, Barbara (Duval)-
Voice-'45
MacFarland, Elsie (Jansen)-
Voice-'38
Maciejewicz. Walter* — Bassoon-
•42
Mack, John-Oboe-'5l
MacKinnon, Peter— Flute-'66
Mahler, Albert*-Voice-'34
Mainzer. Joan— Harp— '53
Majeske. Daniel— Violin— '50
Majewski. Virginia— Viola— '36
Maki. Leia (Vauclain)*—
Composition— '40
Malan, Roy— Violin— '68
Mandelbaum. Gayna— Violin—
•74
Mann, Alfred— Composition— '42
Mapes, Gordon— Composition—
'35
Marcus, Robert— Violoncello— '68
Maresh, Ferdinand-Double
Bass-'40
Mariano, Joseph-Flute— '35
Markey, George— Organ— '49
Marks, Edward— Clarinet-'62
Markusson, Sigurdur- Bassoon—
'58
Martin. Robert-Violoncello— "62
Marzyck, Mary (Papesch)—
Piano— '35
Mason, Barrie (Unrath)—
Composition— "46
Masters. Mary (Mylecraine)—
Harp-'49
Mather. Diane— Violoncello— "63
Matison, Lily (Mahler)— Violin—
"34
Maurer, James— Violin— "64
Mayes. Samuel-Violoncello— '37
Mayhew. Mary Jane (Barton) —
Harp-'63
McCall, Donald-Violoncello-
'56
McCarty, Evelyn-Oboe-'58
McConnell. Daniel— Voice-'73
McCormick. William— Clarinet-
•39
McCoy. Edwin— Trumpet— '64
McCurdy, Alexander, Jr.—
Organ-'34
McDonald. Donald— Organ -'50
McElroy. John-Trumpet-"72
McGinnis. Robert-Clarinet-'35
Mcckler. Ruth ( Laredo)-Piano-
'59
Mecoli, Guido-Clarinet-'53
Meiskey. Elsa*-Voice-'34
Melby, John-Trombone— '64
Melick, John-Trombone— '51
Mellinger, Eleanor (Sattler)-
Harp-"43
Mellman. Leah (Horen)-Piano-
'62
Menotti. Gian-Carlo—
Composition— '34
Meredith, Eleanor (Judson)—
Composition— '35
Meyer. Charlton— Piano— '51
Meyer, Felix*— Clarinet &
Conducting— '35
Meyer, Hubert— Tuba— "57
Michaelian, Patricia- Piano— "70
Michaels, Geoffrey— Violin— '65
Michalak. Tomasz— Violin— '66
Miller. Adrienne— Violin— "65
Miller. C. Justin— Bassoon— "73
Miller. Dean-Flute-"63
Miller. Frank— Violoncello— '34
Miller, Kari— Piano— '73
Miller, Mary Ann (Valaitas)—
Voice— "65
Miller, Nolan— French Horn— '65
Miller, Sandra-Flute-'71
Mills, Harlow— Composition— '34
Milofsky. Bernard*-Viola-'40
Mmsker. John— Oboe— '35
Mitchel, Eleanor (Roberts)—
Flute-'42
Mitchell, Ercelle (Lindsay)—
Piano— '35
Mitchell, Howard— Violoncello-
's 5
Mittleman. Norman— Voice— "58
Motfitt. John— Composition— '35
Moffo, Anna— Voice— "54
Mogill, Leonard— Viola— "36
Mollenhauer. Jude (Webster)—
Harp-'62
Monasevitch. Joan— Voice— '65
Mong. Leslie(Eitzen)— Voice— "45
Monohan, Thomas— Double
Bass-'59
Montal. Andre— Voice— '62
Montanaro. Donald-Clarinet-
'54
Moore. Evans— Tuba— '60
Moore. Robert— Trombone— '62
Moreno. Kathleen— Harp— '73
Morey. George— Flute— "38
Morgan. Michael— Double Bass—
•70
Morgenslern, Marvin— Violin—
"50
Morris, Susan (Hedling)— Flute—
"62
Morse. Hilda-Voice— "40
Morseman. Florence-
Accompanying— "35
Moss. Phyllis (Graetz)- Piano—
"41
Mostovoy. Laurie (Sonsino)—
Voice-"68
Muehlmann, Richard— Double
Ba.ss-"64
Mueller. Marilyn (Honsinger)—
Harp-"55
Munafo, Frank— Opera- 1974
Murdock, Victoria— Harp— "34
Nanney. Herbert— Organ— "47
Nazarevitch. Zenia*— Piano &
Composition— "35
Nelson, Allison (Beauchat)—
Piano-"49
Nero. Joseph— Percussion— '74
Ness. Earl— Organ— "53
Nestler. Mary (Reilly)— Voice—
"73
Nevison. Howard— Voice— "65
Newkirk. Robert— Violoncello—
"61
Nies. Craig— Piano~'74
Ninomiya. Miwako (Watanabe)—
Violin-"63
Ninomiya, Yumi (Scott)— Violin-
"67
Noonan. Alice— Composition—
"35
Norris. Mary (Tipton)— Piano—
"39
Norton. Nannette (Kramer)—
Harp-"54
Nudo. Angelo(Eto)— Violin— '56
0"Gorman. Edward* —
Conducting & Composition—
'38
Music Criticism— '39
Giarte, Elvira— Percussion— "73
Olefsky, Paul-Violoncello-"47
Olsen, Cheston— Double Bass—
"53
Gostenbrug, Lloyd*— Voice— "52
Opava, Emil— Flute- "34
Orkis, Lambert-Piano— "65
Ortiz, Cristina— Piano— "7 1
Osadchuk, Roman-Voice— '68
Ostlund, Arnold— Organ— '67
Ovcharov, Sol-Violin— '46
Gxner. Diane (Macdonald)—
Voice— '54
Page. Carol-Voice-'73
Page, Jane ( Markey)— Voice— '49
Paget, Ethel (01.sen)-Piano-'35
Painter, Temple-Organ— '56
Pallesen. Nancv (Dallev)-Flute-
'58
Park, Mi-Young-Violin-'71
Parker, Louise-Voice-'50
Parlante, Carmen-Trumpet-'38
Parr, Patricia (Grebanier)-
Piano— '56
Parrott, Weslev-Organ— '74
Pastor, Freda (Berkowitz)— Piano
& Accompanying— '34
Patota, Anthony— Percussion— '70
Patrick, Robert~Flute-'58
Patton, Mary Alice ( Plummer)-
Voice— '56
Peck, Donald-Flute-'51
Peck, Marcia-Violoncello-'68
Peckham. Irene (Veley)— Piano—
'42
Pecmanova. Sona(Jelinkova)—
Violin-'48
Pekinel, Giiher— Piano— '74
Pekinel, Stiher— Piano— '74
Penzarella, Vincent-Trumpet—
'58
Pepin, Clermont— Composition—
•44
Pepper, George*— Violin— '34
Pepper, Jack— Violin— "35
Pepper, Joseph— Violin— '49
Perkins, Thomas— Voice-'43
Perry, Janet— Voice— "67
Persichetti, Vincent-
Conducting— "39
Peterson. Jon— Oboe— "67
Petina. Irra(Bussey)— Voice-'35
Phibbs. Milton-French Horn-
'71
Phillips, Edna (Rosenbaum)—
Harp-'34
Pickens, Jane (Langlev)— Voice—
'35
Pierson. Herbert-French Horn-
'38
Pintavalle, John— Violin-'5 1
Pintavalle, Marie (Tracy)—
Violin-'59
Pironti, Patricia— Violin— '72
Podder, Leopold— TruTripet—"34
Polisi, William-Bassoon-"35
Polk, Eloise (Spivy)— Piano— "53
Polnarioff, Kurt*-Violin-"38
Porotsky. Richard— Clarinet-"56
Portney. Arlene (Sandler)—
Piano— "65
Portnoi. Henry— Double Bass-"40
Portnoy. Bernard— Clarinet— "47
Posell, Jacques— Double Bass— "35
Poska. Judith-Violin-"35
Prevot. Lynn— Voice— "73
PridonofT. Eugene— Piano— "65
Pulis, Gordon-Trombone-'41
Purvis. Richard— Organ— '40
Putlitz, Lois*-Violin-'35
Putnam. Janet(Soyer)-Harp-
'43
Pyle. Ella*— Composition— '35
Querze. Raoul— Clarinet-'56
Quesada. Teresa (de Menacho)-
Piano— '55
Rabinovitsj. Max— Violin— '59
Rachlin. Ezra— Piano &
Conducting— '37
Raim. Cynthia— Piano— '74
Ramey, Eugene— Voice-'35
Ramsay. Samuel— French Horn-
'55
Rappaport. Jack -Violin '74
Ratteree, Jack— Clarinet— '58
Raymond. Louisa—
Composition— '50
Rea. Gary— Piano-'7l
Reatha. Reva (Jackson)-Harp—
'34
Redick. Janice— Opera— '74
Regan. Rodney— Oboe— '73
Reinert, Clarence*— Voice— '35
Rein hard I. Donald -Trombone-
'43
Reisenberg, Nadia— Piano-'35
Rentschler. Sallv-Flute '58
Resnikoff. Vera-Piano-'35
Voice-'38
Rettew. James*— Clarinet-'42
Reuben. Ronald-Clarinet-'55
Rex. Christopher— Violoncello—
"72
Reynolds. Veda-Violin- "42
Rezits. Joseph— Piano— "48
Rhodes. Cherry (von
Rosenvinge)— Organ— "64
Rice. Heide— Piano— "72
Richman. James— Conducting—
•73
Ridley. Charlotte (Watkins)-
Voice— "36
Rigg. Jonathan— Voice— "65
Ritter. John-Piano-"58
Rittich. Eugene— French Horn-
•51
Roan. Eugene— Orgaii-^54
Robertson. Muriel
( Sobolewska)- Voice— ^41
Robinau It. Jean -Marie* -Piano—
•34
Robinor. Jennie— Chamber
Music— "34
Robinson. Berenice (Morris)—
Composition- "35
Robinson. Paul— Organ— "34
Robinson, Reba (Cannon)—
Harp-"42
Robofsky, Abrasha-Voice-"35
Rochberg, George—
Composition— "48
Roens, Burt— Trumpet— "44
Rogers, Alvin— Violin— '53
Rolandi, Gianna— Voice— '74
Rose, Leonard— Violoncello— '38
Rosen, Jerome-Violin-'59
Rosenberg, Sidney— Bassoon— '48
Rosenblatt, Louis— Oboe— '51
Rosenfield, Joyce— Harp— ^57
Ross, Dianne (Crafts)— Voice— ^68
Rota. Nino— Composition— ^35
Rothfuss. Guy— Voice— ^68
Rothman, Lucille (Felsenthal)-
Piano-'50
Ruga, Zeda (Suzuki)-Piano-'63
Ruggieri, Frank— Bassoon &
Contrabassoon— "35
Ruggiero, Matthew- Bassoon -
'57
Russell. Constance ( Rachlin)—
Piano-"38
Russo. John— Clarinet— '67
Ryan. Francis— Trombone— "69
Safstrom. Harry-Double Bass—
■40
Sagarman. Daniel— Bassoon— "49
Saidenberg. Theodore— Piano &
Accompany ing-'35
Salemno. Louis— Conducting—
■73
Sampson. David-Trumpet— 73
Samuel. Jay-Bassoon— "63
Sanbrotti. Daniel— Percussion-
■70
Sandbank. Jeanne (Marvin)—
Violin-^52
Sanders. Irvin— Trumpet— ^7 1
Santucci. William— Bassoon &
Contrabassoon— ^35
Sarbu. Eugen— Violin— ^73
Satterfield. Deaune— Harp— "58
Satlerfield. Jack*— Trombone—
■43
Saunders. Pauline (Dary)—
Trumpet— "53
Savitt. Jan*— Violin &
Conducting— '35
Savran. Jeannette (Sunshme)—
Piano— '36
Sayre, Gordon— Opera— '41
Sayre, Robert— Violoncello— "48
Schaefer. Winifred (Mayes)—
Cello-^42
Schapiro. Ana (Berschadsky)—
Piano-"64
Schenkman. Peter— Violoncello—
■59
Scherer. Martha (.'Mfee)-Oboe—
•47
Scheurer. Rolf— Composition—
'44
Schlecker. Richard-Double
Bass— '67
Schmachtenberg. Emil—
Clarinet— '35
Schmidt, Ingeborg— Piano— '72
Schmidt, Jack— Oboe— '58
Schneck. Edwin— Percussion— '66
Schreiber, Eleanor— Piano— '56
Schub, Andre-Michel-Piano-
'73
Schumacker, Margaret (Scott)-
Harp-'56
Schupak. Charles-Trombone-
'66
Schwartz. David— Viola— '37
Scott. Roger-Double Bass-'41
Scutt. Kenneth-Flute-'50
Sear. Walter-Tuba-"5 1
Searcy, Roberts— Organ-^59
Seder. Jules— Bassoon— '37
Seder. Theodore— French Horn—
'35
Seiver. Rebecca— Violoncello— '72
Serebner. Jose— Composition-
'58
Serkin. Judith— Violoncello— "73
Serkin. Peter-Piano— '64
Serr. Harriet (Slerenthal)-
Piano-'51
Serratos. Enrico*— Violin— "54
Sewell. Frederick— Violin— '54
Shaft'er. Flame (Kurtz)*-Flule-
'47
Shaft'er, Pamela-Violin-^65
Shaffer. Sherwood—
Composition— '60
Shahan. Michael-Double Bass—
'62
Shamlian. John— Bassoon-'43
Shankle. Jennings-Trombone-
'57
Shanman. Jay— Trombone— '63
Shapiro. Eudice(Kast)— Violin—
'35
Sharlip. Benjamin*-Chamber
Music— '34
Sharoff. Sanford— Bassoon— '41
Sharon. Linda (Cerone)-Violin-
■60
Sharp. Sidney— Violin— ^43
Shay. Michaelene— Harp— '72
Shaykin. Joan (Emtage)-
Violoncello— '55
Shearer. Nancy— Organ— '72
Shechtman. Lillian (Frank)-
Voice-'48
Shefeluk. Marie (Lloyd )-
Violin-'46
Shell. Martha-Voice-'73
Sheridan. Frances (Haut)—
Voice— "35
Shifrin. David— Clarinet— '71
Shill. Richard-Trombone-'41
Shirvan. Harriet (Kass)— Piano—
'53
Shoaf. Jane (Forstner)— Voice—
■38
Shoop. Betty (Seibert)— Viola—
■48
Shub. Louis— Accompanying— ^40
Shulik. Morris— Violin— ^42
Shumsky. Oscar— Violin— "36
Shure. Paul— Violin— ^43
Siegl. Henry— Violin— "35
Siemens. Reynold— Violoncello—
■56
Signor. Warren— Viola— "46
Signorelli. Anthony— Clarinet-
•74
Silfies. George— Clarinet— '48
Simmons. Calvin— Conducting—
■73
Simms. John— Piano— ^43
Simon. Abbey— Piano— '39
Simonelli. John— French Horn-
's 9
Smatra. Frank— Tympani and
Percussion— '36
Singer. Bronja (Foster)-Piano—
•38
Singer. David— Clarinet-^71
Singer. Irene (Opava)— Voice— ^36
Siljar. Felix-Violin-"49
Sitjar. Josephine*— Voice— ^46
Skolovsky. Zadel— Piano &
Conducting— ^37
Skowlund, Carl— Trombone— ^50
Skowroneck. Felix— Flute— '56
Smart. Robert— Organ— '52
Smith. Barron— Organ— '47
Smith. Henry Charles-
Trombone— '55
Smith. Janet— Voice— '57
Smith. Joseph— Clarinet-'67
Smith, Lloyd-Violoncello-'65
Smith, Muriel— Voice— '46
Snyder. Clarence— Organ— ^42
Snyder. Noel— Violoncello— ^6 1
Chamber Music-'62
Sokoloft". Laurie (Orner)-Flute-
'66
Sokoloft". Vladimir-
Accompanying— "36
Somer. Hilde (Zurkow)-Piano-
■41
Sorel. Claudette-Piano-^53
Sorianello. Francesco— Voice— '59
Sorlein. Barbara (de Pasquale)—
Violin-^55
Sowiak. Oksana— Voice— '61
Spicer. David-Organ— '69
Spitzer. Jean (Glasser)— Violin—
'36
Stabile. Mary Ann (Cooper)—
Voice-^58'
Stairs. Michael— Organ-^71
Stanchik. Vivian (Wagner)—
Voice— '56
Standley. Gene-French Horn—
'74
Stanford. Carolyn (Fortson)—
Voice-'58
Staples. Alan-Violin-'49
Stark. Ethel-Violin-'34
Starr. Susan (Arrow)— Piano— '61
Stasis. Patricia— Voice— '71
Statter. Arthur— Trumpet-'35
Steelman. Ronald-Double
Bass-'51
Steiner. Diana (Dickstein)—
Violin-"49
Steiner. Frances (Tarlow)—
Violoncello— ^56
Sleinhardt. Amold-Violin-^59
Steinruck. Mark-Trombone-'70
Stenborg. Rodney-Voice-^62
Stephens. David-Conducting—
Tympani and Percussion-"40
Stephenson. Loran-
Violoncello— ^69
Stephenson. Mark-Double
Bass-^71
Stepper. Martin-Composition-
■73
Stern. Lucie*— Piano— ^35
Stewart. Robert-Oboe-^66
Stewart. Willie (Setseck)-Voice-
'41
Stimpson. George— French
Horn-'70
Stolin, Sonia-Voice-'50
Stone. Katherine ( Vadde)-
Voice-'68
Storch. Laila (Friedman)-
Oboe-'45
Slurman, Mitchell-Clarinet— '73
Stutch. Nathan-Violoncello-'41
Sugitani. Takaoki-Violin-'62
Sullivan. Richard-Trombone-
•51
T5;-r> 'Ciirtis Institute of Mi>:''!"
Sunkett. Mark- Percussion— "70
Suiter. Marjorie(Jacobius)—
Harp-"46
Suzuki. Hideiaro-Violin— "63
Sveinbjomsson. Einar— Violin-
•59
Swan. Marilyn-Piano-'73
Sweenev. Gordon— Trombone—
■59
Svnions. Charlolte(Hoierman)—
' Voice-"35
Tail. Catherine— Violin— '74
Takeuti. Kiyoko— Piano— "71
Tamburini. James— Trumpet— "40
Tarlow. Lawrenee-Tuba-"74
Teague. William— Organ-'48
Temianka. Henri— Violin &
Conducting— "35
Tern.'. Kenton— Flute— "34
Thibault. Conrad-Voice-'34
Thompson. Patti-Jean
( Buechner)— Voice— '60
Thome. Barbara (Sle\ enson)—
Voice-"38
Thorstenberg. Laurence— Oboe—
"51
Thurmond, .lames— French
Horn-"35
Tifi". Michele-Piano-"74
Tipton. Albert-Flute-"39
Tomasone. Adeline— Flute— "74
Torello. Carl— Double Bass— "35
Tornga. Joanne (Hutchinson)—
Voice— "49
Townsend. Richard— Flute— "35
Treash. Leonard— Voice— "36
Tree. Michael— Violin— "55
Trembly. Sally-Viola-"54
Trepel. Shirley— Violoncelio-"45
Trifan. Marioara— Piano— "65
Trobaugh. Lee(Sleelman)—
Flule-"49
Troxell. Barbara— Voice— "42
Tsumura. Mari ( Botnick)—
Violin-"71
Tuma. Elizabeth- Violoncello-
"71
Tung. Shao-Ling— Violin-"54
Tung. Shao-Yuan— Violoncello-
"54
Turk. Gordon— Or2an-"71
Turkiewicz, \Vilold-Piano-"49
Tursi. Francis— Viola— '42
Composition— "46
Tutlle. John-Organ-"69
Tultlc. Karen-Viola-"48
Tyre. Jane (Balchelder)-Double
' Bass-"42
Tvre. Marjorie (Svkes)-Harp—
■"36
Ujcich. Randolph-Double
Bass-"68
Umbrico. Joseph-Trumpet-"57
Usui, Mikiko-Piano-"69
Vail. James— Organ— "5 1
Valente. Benila (Checchia)-
Voice— "60
Vallev. Patricia (Holdeman)-
Flute-"68
Van den Berg. William—
Conducting— "35
van Lidth de Jeude. Philip-
Voice— "74
Van Sickle. Rodney-Double
Bass-"57
Vassar. Walter-Voice-"34
Vauclain. Constant-
Composition— "39
Veach. Penelope-Violin— "65
Vialione. Gina ( Penzarella)—
Voice-"57
Villa. Carlos-Violin-"58
Villareal. Sylvia (Bryson)—
Voice— "72
Visca. Claudia-Voice-"73
Vischoric. Joanne— Voice— "70
Voaelgesana. Frederick— Violin-
"39
Vole. Gaby-Double Bass-"7 1
Vyner. Louis— Viola &
Conducting -"34
Wada. Kaiko(Hori)-Violin-"67
Wagner. La\vrence-Clarinet-"59
Wainwriaht. Lvnne( Palmer)—
Harp-"40
Walker. George— Piano &
Composition— "45
Walker. Louise-Violin-"35
Wallace. Trudy (San Filippo)-
Voice— "63
Walstrum. Theodore-Piano &
Accompanying- '34
Wana. l-Fu-Violin-"74
Ward. Tim-Bassoon-"73
Watkins. Herman'- French
Horn-"36
Watlington. Helen— Voice— "35
Watson. Julia (Janson)-Violin-
"61
Watzinger. Wolfgang- Piano— "74
Wauchope. Arthur— Trombone—
"66
Weaver. John— Organ— "59
Weber. David-Oboe-"70
Webster. William— Oboe— "62
Weeks. Larry-Trumpet-"71
Weimer. Patricia-Violoncello-
"72
Weinrich. Carl-Organ— "34
Weinstein. Stanley-Clarinet— "66
Weisgall. Hugo— Conducting— "37
Composition— "39
Wenk. Nancy— Clarinet-"64
Werle. Frederick— Composition—
•39
Wertsch. Nancv (Dolph)-Voice-
"67
West. John— Voice— "62
Westmoreland. Elizabeth
( Briggs)— Accompany ing— '34
Wetherill. David-French Hom-
•74
Whitehead. Henry*— French
Horn-'35
Whitehead. William-Organ— "62
Whitenack. Irven'-Double
Bass-"35
Conducting— "39
Wiener. Frances (Shorr)—
Violin— "35
Wightman. Florence-Harp— '35
Wilkins. Caria ( Forrest)-Voice-
'68
Williams. Diane-Harp— '55
Williams. Donald-Percussion-
•70
Williams. Florence (Seder) -
Violoncello— '35
Williamson, Bernard. Jr.* —
Organ-'40
Willis. Andrew-Piano— "72
Willoughbv. Susan-Bassoon-"61
Wilson. Alex-Trumpet-'49
Wilson. Harvey— Trombone— "38
Windt. Paul-Violin-"70
Winkler, Anton-Flute-"42
Winsor. Curtin— Composition &
Music Criticism — 42
Winstead. William— Bassoon-"64
Winterbottom, Susan— Viola— '68
Winters. June (Peretti)— Voice—
'38
Wippler. Harold— Violin— '47
Wiseman. John— Voice— '63
Witmer. Larry— Trombone— "74
Woerner. Gerald— Trombone—
•34
Wohl. Milton*-Violin-"40
Wohlwender. Thomas—
Trumpet— "55
Wolcott. Vernon— Organ -"54
Wolf. Andrew — Piano— '66
Wolfgang. Bonnie (PridonofT)-
Bassoon— '67
Wolfgang. Randall— Oboe— '72
Woltman. Martin— Oboe-'70
Woodhams. Richard— Oboe— "68
Woodhams. Thomas— Bassoon—
'65
Woodside. Robert— Organ— "52
Woodward. Ann— Viola— "65
Workman. William— Voice— '65
Worman. William— Organ— "47
Woron. Caroline (Levine)—
Viola-'62
Worrilow. Helen (Campbell)—
Voice— '41
Wortreich. Herbert- Viola— '42
Wright. Harold-Clarinet-"50
Wright. William-Clarinet— "5 1
Wustner. Marga*-Piano&
Accompanying- "34
Wyatt. Charles-Flute-"66
Wyre. Ross— Tuba— "34
Yeats. William-Voice-'60
Yockey. Elyse (llku)-Harp-'52
Young. Bobby Ann— Voice— '64
Zaninelli. Luigi— Composition—
•55
Zaremba. Sylvia— Piano— '47
Zarzeczna. Marion— Piano-'54
Zawisza. Leon— Violin— "36
Zazofskv. George— Violin-'41
Zegler. Manuel— Bassoon— '40
Zelig. Tibor— Violin-'43
Zimmerman. Oscar— Double
Bass-'34
Zupnick. Marilvn- Oboe— '72
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